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RCM Music History 9 > Part 1 - Baroque Era > Flashcards

Part 1 - Baroque Era Flashcards

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1
Q

Baroque

A
  • From the Portuguese ‘barroco’, meaning “irregularly shaped or misshapen pearl”;
  • First used as a derogatory term in reference to the overly ornate art of the era;
  • Now applied to art, architecture, and music of the 17th and early 18th centuries.
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2
Q

Figured bass

A
  • A musical shorthand developed in the Baroque era;
  • Numbers are placed below the bass line to show harmonic progression;
  • Performed or realized by the ‘basso continuo’;
  • Provides the structure for guided improvisation.
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3
Q

Basso continuo

A
  • Baroque performance practice;
  • Generally involves two performers, one playing the notated bass line, one realizing the harmonies as indicated by the figured bass;
  • Harmonies usually played on harpsichord or organ;
  • Provides harmonic framework.
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4
Q

Homophonic texture

A

A single line of melody supported by a harmonic accompaniment.

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5
Q

Polyphonic texture

A

A combination of two or more melodic lines.

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6
Q

the Affections

A
  • Also referred to as the ‘Doctrine of Affections’ or ‘the affects’;
  • A Baroque philosophy inspired by ancient Greek and Roman writers and orators;
  • Refers to emotional states of the soul;
  • In Baroque music, a single ‘affection’ or ‘affect’ (one clear emotion) is usually projected through an entire composition or movement.
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7
Q

Ornamentation

A
  • Musical embellishment to decorate a melodic line;

- Either represented with symbols, or improvised.

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8
Q

Concerto

A
  • A popular instrumental genre of the Baroque era for soloist(s) and orchestra;
  • Generally in three movements, fast-slow-fast;
  • Frequently employed ‘ritornello’ form;
  • Intended to showcase the virtuosity of the soloist(s).
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9
Q

‘Ritornello’ form

A
  • A structure employed in the first and third movements of the Baroque concerto;
  • The opening passage (ritornello) is restated throughout the movement, serving as a refrain.
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10
Q

Ripieno

A
  • Italian for ‘full’ or ‘complete’;

- A term used to denote the use of the full orchestra in the Baroque concerto.

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11
Q

Ostinato

A
  • Italian for ‘obstinate’ or ‘persistent’;

- A rhythmic or melodic pattern repeated for an extended period.

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12
Q

Pedal point

A

A note, or a series of notes, sustained through harmony changes in other parts.

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13
Q

Idiomatic writing

A
  • Highlights the unique technical capabilities of an instrument in the style of writing;
  • Opposite of ‘generic’;
  • Developed in the Baroque era.
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14
Q

Programmatic wtiting

A
  • Music with a descriptive element, inspired by extramusical associations, like a story or painting;
  • Evolved into a significant feature of 19th-century instrumental writing (program music).
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15
Q

Equal temperament

A
  • A method of tuning keyboard instruments;
  • The octave is divided into twelve equal half steps;
  • Facilitated the composition and performance of music in all keys.
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16
Q

Clavier

A

A German word for keyboard instruments other than the organ.

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17
Q

Prelude

A

A short keyboard work in improvisatory style, often paired with a fugue.

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18
Q

Fugue

A

A highly structured, imitative contrapuntal composition, in which a single theme or subject prevails.

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19
Q

Counterpoint

A

Combination of two or more independent melodic lines, also referred to as ‘polyphonic texture’.

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20
Q

Subject

A

The initial statement of the main theme of a fugue, in the tonic key.

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21
Q

Answer

A

The second statement of the main theme in a fugue, usually in the dominant key.

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22
Q

Real answer

A

An exact transposition of the subject.

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23
Q

Tonal answer

A

A statement of the subject in which one or more intervals is adjusted to accommodate the harmony.

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24
Q

Countersubject

A

A recurring countermelody, which accompanies entries of the subject and answer.

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25
Q

Episode

A

A passage, frequently sequential, within a fugue, in which neither subject nor answer is present.

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26
Q

Oratorio

A
  • A large-scale work for soloists, chorus, and orchestra;
  • Serious subject, generally based on biblical texts;
  • Consists of recitatives, arias, ensembles, and choruses;
  • Developed in the Baroque era.
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27
Q

French overture

A
  • A Baroque orchestral genre, often the orchestral introduction to an opera or oratorio;
  • First developed at the court of Louis XIV by Jean-Baptiste Lully;
  • Generally in two parts;
  • First part: Slow tempo, homophonic texture, features dotted figures;
  • Second part: Fast tempo, imitative texture.
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28
Q

Libretto

A
  • The text of an opera, oratorio, or cantata;

- Usually written by someone other than the composer.

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29
Q

Recitative

A
  • A speech-like style of singing used in operas, oratorios, and cantatas;
  • Follows inflections of the text, resulting in rhythmic flexibility;
  • Usually used to advance the plot or storyline; moves through text quickly.
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30
Q

Recitativo secco

A
  • Italian for ‘dry recitative’;
  • A speech-like, declamatory style of singing;
  • Supported only by continuo;
  • Employed in opera, oratorio, and cantata.
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31
Q

Recitativo accompagnato

A
  • Italian for ‘accompanied recitative’;
  • A speech-like, declamatory style of singing;
  • Supported by instrumental ensemble or orhcestra;
  • Allows for greater connection with the text;
  • Employed in opera, oratorio, and cantata.
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32
Q

Aria

A
  • Italian for ‘air’;
  • A solo song with accompaniment, heard in an opera, oratorio, or cantata;
  • Highly emotional and often virtuosic;
  • May have lyrical or dramatic qualities; often serves to reveal the characters’ most intimate emotions.
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33
Q

Da capo aria

A
  • An aria (solo song) employing a ternary (ABA) structure;
  • In performance, the return of Section A is generally ornamented;
  • The most common type of aria in Baroque opera and oratorio.
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34
Q

Word painting

A

Musical pictorialization, with the music mirroring the literal meaning of the words. Achieved through melody, harmony, or rhythm.

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35
Q

Melisma

A

A group of notes sung on a single syllable/vowel, demonstrating vocal virtuosity and often serving to highlight key words.

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36
Q

What are the milestone dates chosen to define the Baroque era?

A

1600 - Birth of opera

1750 - Death of J.S. Bach

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37
Q

What are the key qualities of Baroque era music?

A

The time of turbulence, contrasts, and change is reflected through the emergence of many new forms, genres, textures, and instruments.

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38
Q

What provided the harmonic backbone of Baroque style?

A

The major-minor system.

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39
Q

What essential factor shaped the lives and careers of 18th-century composers?

A

Patronage of the arts, from the aristocracy the church, and the state.

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40
Q

When did Antonio Vivaldi live?

A

1678 to 1741.

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41
Q

Of which nationality was Vivaldi?

A

Italian.

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42
Q

What careers did Vivaldi pursue throughout his life?

A
  • Violinist;
  • Conductor;
  • Composer;
  • Catholic priest.
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43
Q

What was Vivaldi’s nickname?

A

‘Il prete rosso’ (the red priest), because of his red hair.

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44
Q

Which primary genre did Vivaldi regard himself composer of?

A

Opera

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45
Q

Vivaldi’s contribution to which genre makes him famous today?

A

To the baroque concerto repertoire.

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46
Q

How did Vivaldi showcase a performer’s virtuosity?

A

Through brilliant, idiomatic writing for strings.

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47
Q

What is Vivaldi’s link to the Conservatorio Ospedal della Pietà in Venice, Italy?

A

The Conservatorio Ospedal della Pietà was a charitable institution for abandoned girls offering exceptional musical training.

Vivaldi served as violin master and choirmaster.

The school’s performances were highly regarded throughout Europe.

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48
Q

Which musical structure did Vivaldi develop?

A

The three-movement concerto structure.

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49
Q

What form did Vivaldi lead in establishing?

A

The ritornello form.

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50
Q

What type of writing did Vivaldi develop for strings?

A

Idiomatic writing. He exploited string virtuosity through technically demanding writing (rapid passagework, string crossings, arpeggio figurations, double stops).
He also frequently used sequences.

This showcased the new string instruments of the era.

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51
Q

How was Vivaldi’s musical style descriptive?

A

Through the incorporation of programmatic writing, with descriptive titles.

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52
Q

Which genres did Vivaldi compose, and what are his most famous titles?

A
  • Concertos (500+): Both concerto grosso and solo concerto. Mostly for violin, also for bassoon, oboe, flute, recorder, viola, cello, mandolin.
  • Opera (40+): ‘Orlando Furioso’, ‘Griselda’.
  • Sacred vocal: Oratorios (‘Juditha Triumphans’), motets, and ‘Gloria’.
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53
Q

The Four Seasons, Op. 8, “Spring” (no. 1) is a virtuosic solo violin concerto exemplifying which aspects of Vivaldi’s musical style?

A

Idiomatic writing: Solo violin part

Programmatic work: Poetic images depicted graphically in the music.

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54
Q

When was The Four Seasons, Op. 8, “Spring” (no. 1) composed?

A

1725.

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55
Q

Which collection did The Four Seasons, Op. 8, “Spring” (no. 1) belong to?

A

The Contest between Harmony and Inspiration (Il cimento dell’armonia e dell’invenzione).

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56
Q

What inspired Vivaldi to compose The Four Seasons, Op. 8, “Spring” (no. 1)?

A

The program was inspired by sonnets (likely written by Vivaldi himself), which describe the four seasons of the year. Portions of the text were printed above the corresponding passages in the original score.

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57
Q

What are the performing forces of The Four Seasons, Op. 8, “Spring” (no. 1)?

A

Solo violin, strings, continuo.

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58
Q

Define the following, for the first movement of The Four Seasons, Op. 8, “Spring” (no. 1):

  • Key
  • Form
  • Tempo
  • Meter
  • Text inspiration
  • Instruments
A
  • Key: E+
  • Form: Ritornello
  • Tempo: Allegro
  • Meter: 4-4
  • Text inspiration: 1st and 2nd stanzas of the sonnet
  • Instruments: String orchestra and solo violin
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59
Q

What is the poetic image of the ritornello theme in the first movement of The Four Seasons, Op. 8, “Spring” (no. 1), and how is this musically depicted?

A

Poetic image: Spring has arrived

Musical depiction: Spirited rhythmic figures, bright character, celebratory dance-like character.

60
Q

How does Vivaldi depict the poetic image of birds celebrating with festive song, in the first movement of The Four Seasons, Op. 8, “Spring” (no. 1)?

A

High-pitched trills, repeated-note figures.

61
Q

How does Vivaldi depict the poetic image of murmuring streams caressed by gentle breezes, in the first movement of The Four Seasons, Op. 8, “Spring” (no. 1)?

A

Violins playing a rapid undulating figure.

62
Q

How does Vivaldi depict the poetic image of storm clouds darkening the sky, bringing thunder and lightning, in the first movement of The Four Seasons, Op. 8, “Spring” (no. 1)?

A
  • Tremolando passages (quick repetition of notes) by the violins = Thunder
  • Rising thirty-second note scales = Lightning
63
Q

Define the following, for the second movement of The Four Seasons, Op. 8, “Spring” (no. 1):

  • Key
  • Form
  • Tempo
  • Meter
  • Text inspiration
  • Instruments
A
  • Key: C#-
  • Form: Two-part structure
  • Tempo: Largo
  • Meter: 3-4
  • Text inspiration: 3rd stanza
  • Instruments: Reduced, with no cello or continuo
64
Q

What is the poetic image in the second movement of The Four Seasons, Op. 8, “Spring” (no. 1), and how is it musically depicted?

A

Poetic image: Goatherd sleeps in a meadow beside his dog, with the leaves rustling gently.
Musical depiction:
-Solo violin’s languorous melody = Sleeping goatherd
-Violin’s dotted-note figure in parallel 3rds = Rustling leaves
-Viola’s ostinato = Barking dog

65
Q

How are Vivaldi’s opera composition skills evoked through the second movement of The Four Seasons, Op. 8, “Spring” (no. 1)?

A

Long, lyrical lines for the violin.

66
Q

Define the following, for the third movement of The Four Seasons, Op. 8, “Spring” (no. 1):

  • Key
  • Form
  • Tempo
  • Meter
  • Text inspiration
  • Instruments
A
  • Key: E+
  • Form: Ritornello
  • Tempo: Allegro
  • Meter: 12-8
  • Text inspiration: 4th stanza of the sonnet
  • Instruments: String orchestra and solo violin
67
Q

What is the poetic image in the third movement of The Four Seasons, Op. 8, “Spring” (no. 1), and how is it musically depicted?

A

Poetic image: Nymphs and shepherds dance to the sound of rustic bagpipes
Musical depiction:
-Bass pedal point: Drone of bagpipes
-Lifting compound meter: Dance-like character

68
Q

What year was Johann Sebastian Bach born, and what year did he pass away?

A

DOB: 1685
DOD: 1750

69
Q

Where was J.S. Bach born?

A

Eisenach, Germany

70
Q

Did J.S. Bach come from a musically-inclined family?

A

Yes. Music was the family profession for five generations. His fther was a court trumpeter.

71
Q

What type of musical and academic training did J.S. Bach receive during the early years of his life?

A

Upon being orphaned at age 10, he continued musical training with his brother, Johann Christoph. His academic studies included Latin, Greek, and theology.

72
Q

What musical instruments / workings was J.S. Bach adept in?

A

He sang in choirs, and became an accomplished violinist and virtuoso organist. He also trained in instrument building and repair.

73
Q

During his time in Arnstadt, Leipzig, and Mühlhausen (1703-1708), what did J.S. Bach’s life and musical career comprise of?

A

Arnstadt: J.S. Bach held various positions, as court violinist, chamber musician, and organist.

Leipzig (1705): Bach was granted leave from his Arnstadt position, to meet famous organist Dietrich Buxtehude. He walked over 200 miles each way. He was totally inspired and stayed an additional 3 months without authorization.

Mulhausen (1707): He married Maria Barabara Bach, a distant cousin, shortly after arrival. Two of their children, Carl Philipp Emanuel and Wilhelm Friedemann, became successful musicians.

74
Q

During his time in Weimar (1708-1717), what did J.S. Bach’s life and musical career comprise of?

A

J.S. Bach was organist and chamber musician to Wilhelm Ernst, Duke of Weimar.

He enjoyed increasing fame as an organist, composing many organ works. This included Orgelbüchlein (Little Organ Book) of chorale preludes.

J.S. Bach also composed music (cantatas, chorale settings) for Lutheran church services.

75
Q

What made J.S. Bach leave Weimar in 1717?

A

He accepted a salary advance for a new position in Cöthen. The Duke of Weimar was angered, and J.S. Bach served a month in jail as a result.

76
Q

During his time in Cöthen (1717-1723) what did J.S. Bach’s life and musical career comprise of?

A

He was kapellmeister (musical director) to Prince Leopold of Cöthen, an avid supporter of the arts.

However, due to the Calvinist views of the court, musical activities was limited in church settings.

J..S Bach composed many of his solo and chamber works during this period: suites, concertos, sonatas, solo keyboard works (The Well-Tempered Clavier, Book 1).

In 1720, Maria Barbara died suddenly.

In 1721, Bach married Anna Magdalena Wilcke, a court singer. Their sons Johann Christian and Johann Christoph became successful musicians.

77
Q

During his time in Leipzig (1723-1750), what did J.S. Bach’s life and musical career comprise of?

A

Appointed Cantor of St. Thomas School, he held many responsibilities: teaching, composing, directing choirs, and supervising musical activities in several churches.

1729: Bach became director of Collegium Musicum, a university-student-based performing ensemble.

He composed his large-scale works, including Goldberg Variations, Art of Fugue.

Bach travelled significantly to test new keyboard instruments.

1747: Visits Frederick the Great at Potsdam, where his son, Carl Philipp Emanuel was employed. ‘The Musical Offering’, a contrapuntal work, was composed, based on a theme provided by the king.

July 28, 1750: Death, caused by a stroke (likely).

78
Q

What was the significance of J.S. Bach’s contribution to the Baroque era?

A

His music represents a high point in 100+ years of Baroque musical practice, with his personal style synthesizing the leading musical developments of the era.

79
Q

What genres did J.S. Bach compose?

A

Virtually all genres, apart from opera.

80
Q

What was the greatest source of inspiration for J.S. Bach’s creative work?

A

His personal faith. He was a devout Lutheran, dedicating all his works ‘To the glory of God’.

81
Q

What did J.S. Bach demonstrate in the fugues of ‘The Well-Tempered Clavier’?

A

His mastery of contrapuntal art.

82
Q

What international styles was J.S. Bach influenced by?

A

German: Lutheran chorale tradition, counterpoint;
French: Dance rhythms, ornamentation;
Italian: Operatic lyricism, ritornello form, idiomatic string writing.

83
Q

What was J.S. Bach’s primary instrument?

A

The organ (he was a virtuoso!), as reflected in his organ and keyboard works.

84
Q

Did J.S. Bach define new forms?

A

No, he perfected existing forms.

85
Q

What genres did J.S. Bach compose, and what are his most famous titles?

A

Orchestral: Brandenburg Concertos (6), Orchestral Suites (4), Violin & Harpsichord Concertos.

Chamber: Unaccompanied Suites for Cello (6), Unaccompanied Sonatas and Partitas for Violin (6), Sonatas for Flute, Viola Da Gamba, Violin, and Harpsichord.

Keyboard: Collections for Students (Notebook for Anna Magdalena, Notebook for Wilhelm Friedemann), 2-Part Inventions, 3-Part Inventions (Sinfonias), ‘The Well-Tempered Clavier’, Toccatas, French Suites (6), English Suites (6), Italian Concerto, Chromatic Fantasy and Fugue.

Organ: Chorale Preludes, Toccatas, Passacaglias, Fugues.

Vocal: Cantatas (est. 200), Passions (St. Matthew Passion, St. John Passion, mass in B Minor).

86
Q

What is a false stretto?

A

A stretto i which the initial subject is stated partialy.

87
Q

What is a Tierce de Picardie?

A

A common mannerism in Baroque era, concluding a work written in a minor key with a tonic triad containing a raised third. This occurs throughout the preludes and fugues of ‘The Well-Tempered Clavier’.

88
Q

What are the key features of ‘The Well-Tempered Clavier’?

A
  • Demonstrates craftsmanship bordering on wizardry;
  • Employs a vast array of contrapuntal devices and approaches throughout both volumes;
  • Varies greatly from one piece to the next;
  • Enduring and monumental cntribution to keyboard literature.
89
Q

How are fugal subjects manipulated in ‘The Well-Tempered Clavier’?

A
  • Inversion (subject presented ‘upside down’);
  • Augmentation (subject presented in longer time values);
  • Diminution (subject presented in shorter time values).
90
Q

What is the genre and the composition date of Prelude and Fugue in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

Genre: Solo keyboard music.

Composition Dates: Book 1 - 1722, Book 2 - 1742.

91
Q

What is the significance of the title ‘Well-Tempered Clavier’?

A

‘Well-Tempered’: Refers to the (then) newly invented tuning system for keyboard instruments, that allowed for pieces to be written in any key.
‘Clavier’: German for any keyboard instrument, other than organ.

92
Q

What is the structure of ‘The Well-Tempered Clavier’?

A

Two books, each containing twenty-four preludes and fugues, organized in pairs of parallel major and minor keys.

Each book begins with preludes and fugues in C+ and C-, then moves up chromatically in half steps, ending with B major and B minor.

93
Q

What is the key, the form, the tempo, the meter, and the texture of the Prelude in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

Key: B flat major.
Form Incorporates aspects of binary form.
Tempo: No specific indication on the score, but the style implies a quick tempo, in the manner of a toccata (very fast keyboard work demonstrating a virtuosic, improvisatory character).
Meter: 4/4
Texture: Homophonic and polyphonic

94
Q

What are the features of Section A of Prelude in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

Broken-chord passages are played in breathless thirty-second notes, treated sequently;
Frequent thirty-second note runs;
Ends in F+ (dominant key), proceeds immediately to the next section.

95
Q

What are the features of Section B of Prelude in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

Continues the toccata-like style, with rapid cadenza-like runs, emerging from arpeggiated seventh chords;
Requires virtuosity throughout;
The improvisatory style contrasts with the controlled order demonstrated in the fugue that follows.

96
Q

What is the key, the form, the tempo, the meter, the texture, the number of voices, the type of answer, and the countersubject of the Fugue in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

Key: B flat major
Tempo: Moderately fast, but Bach gave no tempo indications in the score
Meter: 3/4
Texture: Polyphonic
Number of voices: 3
Type of answer: Tonal
Countersubject: Two countersubjects are presented simultaneously throughout the fugue, acting as accompanying figures to the states of the subject or answer.

97
Q

What are the features of the fugal exposition of Fugue in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A
  • The subject, in B flat major, is presented in the top voice in an unusually long manner, then in the bass voice.
  • Comprises two motives. The first is mostly disjunct, outlining the tonic-dominant seventh harmony while the second is conjunct, outlining the same harmonies.
  • The tonal answer appears in F+ in the middle voice.
  • The 1st countersubject first appears in the top voice, then in the middle voice.
  • The 2nd countersubject appears in the top voice, followed by the redundant entry of the tonal answer in this upper voice.
98
Q

What are the events of the middle section of Fugue in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

First episode leads to G minor;
Subject appears in G minor, followed by tonal answer in C minor;
Second episode leads to E flat major;
Partial (two-measure) entry of the tonal answer is interrupted b a complete entry in E flat major, a false stretto.

99
Q

What are the events of the final section of Fugue in B flat Major, BWV 866, from ‘The Well-Tempered Clavier’ (Book 1)?

A

Conclusion, with a tonal answer reaffirming the home key of B flat major.
The final four measures act as a coda, bringing the fugue to a strong close.

100
Q

When was George Friederic Handel born, and when did he pass away?

A

DOB: 1685
DOD: 1759

101
Q

Where was George Friederic Handel born?

A

In Halle, Germany.

102
Q

What discouraged Handel’s musical pursuits?

A

His father, who was a prosperous barber-surgeon. Upon his death, Handel pursued music professionally.

103
Q

Who contributed to Handel’s musical studies?

A

Friedrich Wilhelm Zachow, with whom Handel studied composition and keyboard technique.

104
Q

What instrument was Handel accomplished in?

A

The organ.

105
Q

What subject did Handel study at the University of Halle?

A

Law.

106
Q

What were the main events during Handel’s time in Hamburg (1703-1706)?

A

He worked as a violinist and harpsichordist in opera orchestras.

He composed his earliest operas, ‘Almira’ and ‘Nero’.

107
Q

What were the main events during Handel’s time in Italy (1706-1710)?

A

He absorbed aspects of Italian musical style and language, which were evident in his operas, oratorios, and concertos.

He visited major cities where his works were performed, including Florence, Rome, Naples, Venice.

108
Q

What were the main events during Handel’s time in Hanover (1710-1712)?

A

He was appointed Kapellmeister to George Ludwig, Elector of Hanover.

Ludwig allowed him to travel to London. He did so twice, then eventually stayed.

109
Q

What were the main events during Handel’s time in London (1712-1759)?

A
  • He received an annual salary, awarded Queen Anne, the first of many royal commissions and patronage appointments.
  • 1714: Death of Queen Anne. The Elector of Hanover, Handel’s previous patron, proclaims King George 1. Other influential patrons include the Earl of Burlington, the Duke of Chandos.
  • 1719: Handel cofounds the Royal Academy of Music, to promote Italian opera in London.
  • Handel composes, directs, produces many London productions: Giulio Cesare, Tamerlano, Rodelinda, Alcina, Serse.
  • Handel works with leading singers of the day: Faustina Bordoni, Francesca Cuzzoni, and the great castrato Senesino.
  • 1727: Death of King George 1 - Handel is commissioned to write music for the coronation of King George 2.
  • Handel becomes a British subject.
  • 1728: ‘The Beggar’s Opera’ receives a phenomenally successful premiere. It is John Gay’s English-language ballad opera. Sixty-two (62) performances are conducted in the first run.
  • The public becomes tired of Italian opera. Handel becomes unsure of his future. He continues to write opera, but turns also to other genres, including oratorios, concertos, concerto grosso.
  • 1742: ‘Messiah’ premieres to a great acclaim, at a benefit concert in Dublin.
  • Handel eventually stops writing operas. He becomes very successful writing English-language oratorios.
  • 1753: Retirement from public performance, due to failing eyesight.
  • Handel remains unmarried, giving generously to charity in later years. He continues to compose, even when blind.
  • April 14, 1759: Death, being famous and wealthy. Interred at Westminster Abbey.
110
Q

Why did English-language oratorios become such a success?

A

They were less costly to produce and more appealing to middle-class audiences.

111
Q

Using a single word, how can Handel’s musical style be described?

A

Cosmopolitan. His style absorbed international currents of the day, including German counterpoint, Italian opera, French overture, English choral style.

112
Q

How did Handel employ harmony?

A

He altered between homorhythmic passages (homophonic) and contrapuntal textures (polyphonic).

113
Q

What made Handel’s style accessible and appealing?

A

The use of very basic musical elements: chordal passages, scale figures.

114
Q

How did Handel convey a sense of pageantry and dramatic theatrical style?

A

Through grandiose gestures, such as full SATB choral sound and bold contrasts of dynamics.

115
Q

How did Handel express the meaning of the words associated to his musical compositions?

A

Through the effective use of word painting.

116
Q

What type of repetition did Handel employ?

A

Extended sequential writing.

117
Q

What genres did Handel compose, and what are his most renowned titles?

A

Orchestral: Suites (Water Music, Music for Royal Fireworks), concerto grossi, organ concertos

Chamber: Trio sonatas

Keyboard: Organ and harpsichord compositions

Operas (40+): ‘Rinaldo’, ‘Giulio Cesare’, ‘Serse’, ‘Orlando’

Oratorios (30): ‘Messiah’, ‘Judas Maccabeus’, ‘Israel in Egypt’

Sacred Vocal: ‘Ode for Saint Cecilia’, ‘‘Te Deum’, coronation anthems, cantatas (100+)

118
Q

What was the audience’s take of the premiere of Messiah, HWV 56 by George Friedrich Handel?

A

On April 13, 1742, Messiah premiered at Neale’s Music Hall in Dublin, as a benefit concert. It became highly popular and recognized.

119
Q

How was Messiah, HWV 56 by George Friedrich Handel a testament to the internationalism of the composer and the era?

A

It includes a French overture, Italian recitatives and arias, German counterpoint, and rich English choral writing.

120
Q

Of what genre is Messiah, HWV 56 by George Friedrich Handel?

A

Oratorio

121
Q

How long did Handel take to compose Messiah?

A

Only 24 days, during summer 1741.

122
Q

What is the source of text, the librettist, and the language of Messiah, HWV 56 by George Friedrich Handel?

A

Source of text: Biblical prose - Old & New Testaments

Librettist: Charles Jennens

Language: English

123
Q

What is the structure of Messiah, HWV 56 by George Friedrich Handel? What storyline does this structure tell?

A

Three parts, each with multiple movements.

Part 1: Prophesy of the coming of Christ and his birth

Part 2: Christ’s suffering, death, and spread of his doctrine

Part 3: Redemption of the world, through faith.

124
Q

What are the performing forces of Messiah, HWV 56 by George Friedrich Handel?

A

SATB soloists, SATB chorus, string orchestra (with continuo, oboes, bassoons, trumpets, timpani).

125
Q

What is the title in the original score, for the Overture of Messiah, HWV 56 by George Friedrich Handel?

A

Sinfony

126
Q

What is the genre, the key, the form, and the meter of the Overture of Messiah, HWV 56 by George Friedrich Handel?

A

Genre: French overture
Key: E-
Form: A (with repeats) - B
Meter: 4/4

127
Q

What is the tempo, the texture, the predominant rhythm, and the predominant affect of Section A of the Overture of Messiah, HWV 56 by George Friedrich Handel?

A

Tempo: Grave
Texture: Homophonic
Predominant rhythm: Dotted figure
Predominant affect: Majestic, stately

128
Q

What is the tempo, the texture, the number of voices and the predominant affect of Section B of the Overture of Messiah, HWV 56 by George Friedrich Handel?

A

Tempo: Allegro moderato
Texture: Polyphonic (fugal)
Number of voices: Three
Predominant affect: Energetic, lively

129
Q

Who introduces the subject, and what type of answer is found in Section B of the Overture of Messiah, HWV 56 by George Friedrich Handel?

A

The subject is introduced by the 1st violins and the oboes. The answer is tonal.

130
Q

What is the name of the soprano recitative in Messiah, HWV 56 by George Friedrich Handel?

A

“There were shepherds”

131
Q

What types of recitatives are sung by the soprano in Messiah, HWV 56 by George Friedrich Handel?

A

Recitativo secco and accompagnatos.

132
Q

How does Handel employ word-painting in the recitativo accompagnatos of the soprano, in Messiah, HWV 56?

A

Sixteenth-note repeated figure suggests the trembling of the fearful shepherds.

Dotted figure in the vocal line emphasizes the suddenness of the angels’ arrival. Fluttering sixteenth notes in the accompaniment suggest movement of the angels’ wings.

133
Q

What is the name of the first chorus in Messiah, HWV 56 by George Friedrich Handel?

A

“Glory to God”

134
Q

What are the key, the tempo, and the meter of the first chorus in Messiah, HWV 56 by George Friedrich Handel?

A

Key: D+
Tempo: Allegro
Meter: 4/4

135
Q

How is word painting employed in the first chorus in Messiah, HWV 56 by George Friedrich Handel?

A

“Glory to God in the highest” is set in the upper register.

“And peace on earth” is depicted by a downward octave leap in the bass.

136
Q

What is the name of the soprano aria in Messiah, HWV 56 by George Friedrich Handel?

A

“Rejoice Greatly”

137
Q

What is the key, form, tempo, and meter of the soprano aria in Messiah, HWV 56 by George Friedrich Handel?

A

Key: B flat major
Form: ABA1 - Ternary form, with the repeat of Section A varied
Tempo: Allegro
Meter: 4/4

138
Q

How is word painting used in Section A of the soprano aria in Messiah, HWV 56 by George Friedrich Handel?

A

“Rejoice greatly” has a joyful, celebratory character expressed through melismas;
“Shout” is exclaimed with a burst of sound in the upper register.

139
Q

What is the key of Section B of the soprano aria in Messiah, HWV 56 by George Friedrich Handel, and what effect does this have?

A

In G minor, the minor mode and expansive vocal lines create contrast, through a more introspective mood.

140
Q

What is the name of the second chorus in Messiah, HWV 56 by George Friedrich Handel?

A

“Hallelujah”

141
Q

What is the key, tempo, meter, and texture of the second chorus in Messiah, HWV 56 by George Friedrich Handel?

A

Key: D major
Tempo: Allegro
Meter: 4/4
Texture: Alternation of homophonic and polyphonic settings

142
Q

How is the word “Hallelujah” delivered clearly and powerfully, in the second chorus in Messiah, HWV 56 by George Friedrich Handel?

A

Using a homorhythmic texture.

143
Q

How does Handel expand “and He shall reign for ever and ever” in the second chorus in Messiah, HWV 56 by George Friedrich Handel?

A

Using imitative polyphony. The repeated words are reinforced.

144
Q

How does Handel employ rising sequences in the second chorus in Messiah, HWV 56 by George Friedrich Handel?

A

He builds to the climax using a rising sequence on the words “King of Kings”.

145
Q

What instruments heighten the overall mood (affect) of praise and joy, in the second chorus in Messiah, HWV 56 by George Friedrich Handel?

A

The trumpets and the drums.

RCM Music History 9 (4 decks)

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