Music: An Appreciation by Roger Kamien Part IV The Baroque Period 1600-1750 2011 © McGraw-Hill Higher Education

The Baroque Period General Characteristics   "Baroque" as Term and Period The word baroque (from a Portuguese word for an irregularly shaped pearl) was first used to describe art regarded as bizarre or exaggerated. Later, it was used by art historians in a more positive way to describe the flamboyant decorative and expressive tendencies of 17th- and early-18th-century art and architecture. Music historians now use it for the period of about 1600 to 1750, which includes a variety of musical styles that share some general conventions and ideals.

Baroque Building, Lecce, Italy http://www.angloitalianfollowus.com/the-baroque-buildings-and-sights-of-lecce-italy Baroque Building, Lecce, Italy

Italy remained the most influential region, with important centers at Florence, Rome, Venice, and Naples.   Literature and art flourished throughout Europe in the Baroque period, from the poetry of Milton to the paintings of Rembrandt. New developments in philosophy and science were particularly spectacular, with Bacon, Descartes, Galileo, Kepler, Newton, and others who helped lay the foundations of modern thought. New Musical Idioms Musicians at the turn of the 17th century sought to give expression to a wider range of emotions and ideas than before. Their search for new methods involved considerable experimentation and led to the codification of a new musical language by the middle of the century.

The Baroque Period Idiomatic Writing Renaissance polyphony might be sung or played by various combinations of voices and instruments, but the growing importance of soloists led 17th-century composers to write with a specific medium in mind. As a result, distinctive idiomatic styles developed for the voice, violin family, viol family, wind instruments, keyboard, and other instruments.   The Basic Affections Baroque composers sought to write music that was expressive of the states of the soul. These are not the emotions of the composer (or anyone else), but generalized states of feeling. One basic affection per movement.

The Baroque Period   Rhythm Baroque and later composers thought in terms of strong and weak beats grouped in measures. On the other hand, free and irregular rhythms were used in vocal recitative and instrumental preludes and toccatas. Some standard forms paired a relatively free section with a strictly metered section. such as a recitative and aria or a toccata and fugue.

The Baroque Period   The Basso Continuo Renaissance polyphony used a texture of equal voices, but in Baroque music the melody and bass were the two essential lines. In the system of notation called thoroughbass or basso continuo, the accompaniment was not fully written out; instead, continuo instruments such as harpsichord, organ, or lute would play the notated bass line and fill in the appropriate chords above it.

The Baroque Period Major-Minor Tonalities These and other developments led by last third of the 17th century to tonality, or the major-minor system, which replaced the older system of modes.

The Baroque Period Church Modes Dorian – D to D on the white keys of the piano Phygian – E to E on the white keys of the piano Lydian – F-F on the white keys of the piano Mixolydian – G to G on the white keys of the piano Four hypo-modes Hypodorian Hypophrygian Hypolydian Hypomixolydian Ionian (major) C-C on the white keys of the piano Aeolian (natural minor) A-A on the white keys of the piano

The Baroque Period Opera   An opera is a staged drama set to continuous music. The first operas were written around 1600, but many earlier forms of theater used music, including Greek tragedies, liturgical dramas, religious plays, and Renaissance theater.

The Baroque Period   Greek Tragedy as a Model for Opera The ancient Greek tragedies were a model for the dramatically effective theater Renaissance dramatists sought to achieve. Some felt that only the choruses of Greek tragedy were sung, but Girolamo Mei (1519-1594), a Florentine scholar, argued that the tragedies were sung throughout. This set the stage for the invention of opera.

The Baroque Period   The Earliest Operas The first opera was L'Euridice (1600) by Ottaviano Rinuccini (1562-1621) and singer-composer Jacopo Peri The Recitative Style In recitative style, Peri sought to imitate speech by allowing the natural rhythms of speech to determine the rhythm of the melodic line.

Florentine Camerata 1577-1582 were a group of humanists, musicians, poets and intellectuals in late Renaissance Florence. A revival of the Greek dramatic style, this led to the development of the recitative style and the development of the opera.

The Elements of Opera Drama sung to orchestral accompaniment Text in opera is called libretto Music is written by a composer Libretto is written by a librettist Opera can be serious, comic, or both Two primary types of solo songs: Recitative: presents plot material Aria: expresses emotion—usually a “show-off” vehicle for the singer Other types: duet, trio, quartet, quintet, etc. Three or more singers make up an ensemble

Opera in the Baroque Era Result of musical discussions of the Camerata in Florence 1st known opera: Euridice (Peri-1600) Orfeo (Monteverdi-1607) 1st large scale (great) opera Opera composed for court ceremonies Display of magnificence and grandeur Patrons compared to ancient heroes 1st public opera house 1637 in Venice Rise of virtuoso singer—chief was castrato Secco vs accompanied recitative

The Baroque Period Claudio Monteverdi Monteverdi's opera L'Orfeo (Mantua, 1607), to a libretto by Alessandro Striggio, is on the same subject as Peri's Euridice and also uses contrasting styles. The recitative is more continuous and tonally organized; there are more airs and madrigals; repeating ritornellos and choruses create large-scale form; and the orchestra is large and varied. Most of Monteverdi's next opera, Arianna (1608), is lost, but Arianna's widely admired lament survives.  

PROLOGUE The spirit of music invites the audience to listen to the story of Orpheus (Orfeo), whose music could tame wild animals and conquer the underworld. ACT I In the fields of Thrace the marriage of Orpheus and Eurydice (Euridice) is being celebrated. Orpheus sings a song of love and praise. The nymphs and shepherds share in his joy as they accompany him to the temple. ACT II Orpheus sings to the woods, but his mood of celebration is ended by the arrival of Sylvia, who tells him of Eurydice's death from a snake bite. He is overcome with grief, but resolves to bring Eurydice back from Hades.

ACT III Orpheus is led by Hope (Speranza) to the gates of Hell, where she leaves him. At the River Styx he sings to the boatman Charon, who pities him but does not let him cross. After more singing from Orpheus, Charon falls into a deep sleep. Orpheus takes the oars and crosses the river. ACT IV In Hades, Proserpine who has heard Orpheus's music, begs her husband Pluto to allow him to return to earth with Eurydice. Pluto agrees on condition that Orpheus leads her out of the underworld without once looking back. On their journey home, Orpheus begins to doubt that Eurydice is behind him and, hearing a sound, he turns back and Eurydice vanishes before his eyes. Orpheus continues alone, accompanied by the lamentations of the chorus. ACT V In the fields of Thrace, Orpheus pours forth his grief, but is answered only by Echo. He vows to renounce women. His father, Apollo, descends from the skies in order to console him. Together they ascend to the heavens, where Orpheus will once again see Eurydice in the sun and the stars.

The Baroque Period Venetian Opera Opera was introduced to Venice in 1637 in a public theater; this marked the first time opera was staged for a paying public. Venice was ideal for opera, with many visitors during Carnival season (from the day after Christmas to the day before Lent), wealthy backers, and a steady audience. By the mid-17th century Italian opera was characterized by a focus on solo singing, with little ensemble or instrumental music; a separation of recitative and aria; and the use of distinctive types of aria. The most prominent vocal style was the bel canto (beautiful singing) idiom of smooth diatonic lines and easy rhythms.  

The Early Baroque Period Vocal Chamber Music   Strophic Forms and Bass Patterns Most secular vocal music was chamber music. Chamber works also used monody and basso continuo. The Concertato Medium The 17th-century concerto brought together contrasting sounds into a harmonious whole, in what is called the concertato medium. A concertato madrigal uses instruments as well as voices; a sacred concerto likewise combines a vocal setting of a sacred text with parts for instruments; and an instrumental concerto pits groups of instruments against each other, usually soloists against a larger group. Monteverdi's later books of madrigals include a number of concertato madrigals.

The Baroque Period   Genres of Vocal Solo Music Monodies were very popular in early-17th-century Italy and were published in large number. The cantata (a "sung" piece) was a work for solo voice and continuo; early cantatas often used atrophic variations, and later ones, such as those by Barbara Strozzi (1619-after 1664), alternated recitatives and arias, like an operatic scene. Composers outside Italy absorbed Italian influences but also worked in native forms like the French air de court Music: NAWM 60 A. Social Conditions in Venice In the 16th century, Venice was an independent city-state, a major trading center, and the second most important city in Italy (after Rome). St. Mark's Church was one of the centers of Venetian music and pageantry, and some of the best composers of the time served as choirmaster (including Willaert, Rore, and Zarlino) or organist (including Andrea Gabrieli and Giovanni Cabrieli, cat 1553-1612). Venetian music was often homophonic, richly textured, and varied in sonority.

Genres of Catholic Church Music The Baroque Period   Genres of Catholic Church Music The Grand Concerto. A grand concerto was a large work for singers and instruments, often arranged in two or more separate choirs. The Oratorio An oratorio is a sacred drama like an opera, sung throughout with recitatives, arias, ensembles, and instrumental preludes and ritornellos, but performed without staging or costumes in a church hall called an "oratorio," from which the musical genre took its name around the middle of the 17th century. Oratorios often featured a narrator, and the chorus was much more prominent than in opera.

Baroque Music Two giants of Baroque composition Other noted composers Johann Sebastian Bach (period ends w/ Bach’s death) George Frideric Handel Other noted composers Claudio Monteverdi Henry Purcell Arcangelo Corelli Antonio Vivaldi Period divided into three phases Early: 1600-1640 favored homophonic texture Late: 1680-1750 dominant chord to the tonic Middle: 1640-1680 major & minor scales

Characteristics of Baroque Music Unity of Mood – Basic Affection Expresses one mood throughout piece Rhythm Rhythmic patterns are repeated throughout Provides compelling drive & energy Melody Opening melody heard again and again Continuous expanding of melodic sequence Dynamics Volumes are constant with abrupt changes – terraced dynamics

Characteristics of Baroque Music Texture Late Baroque mostly polyphonic Extensive use of imitation Chords and the Basso Continuo Chords meshed with the melodic line Bass part served as foundation of the harmony Basso Continuo: accompaniment played by keyboard instrument following numbers which specifies the chords – similar to modern jazz & pop “fake book” notation Words and Music Text painting/word painting continues Words frequently emphasized by extension through many rapid notes

The Baroque Orchestra Based on violin family of instruments Small by modern standards Varying instrumentation Strings, woodwinds, brass, & percussion Nucleus was basso continuo unit Composers specified instrumentation Tone color was subordinate to melody, rhythm, & harmony Composers obtained beautiful effects from specific tone colors

Baroque Forms Instrumental music frequently made up of movements Movement: a piece that sounds complete in itself, but is part of a larger composition Performed with pause between movements Unity of mood within individual movements Movements often contrast with each other

Music in Baroque Society Music written to order New music, not old-fashioned, was desired Courts: Music indicated affluence Court Music Director Good prestige, pay, and other benefits Still considered a skilled servant

Some aristocrats were musicians Church music was very elaborate Most people heard music only in church Some, though few, public opera houses Music careers taught by apprenticeship Orphanages taught music as a trade

The Concerto Grosso and Ritornello Form For small group of soloists and orchestra Multi-movement work Usually 3 movements Fast Slow (usually quieter) Fast (sometimes dance-like)

Ritornello Frequently used in 1st & last movements of concerto grosso Theme repeatedly presented in fragments Contrast between solo sections and tutti

Listening Brandenberg Concerto No. 5 in D major by Johann Sebastian Bach For string orchestra and group of soloists Soloists: flute, violin, and harpsichord First movement Ritornello form Listening Outline: p. 129 Basic Set, CD 2:4 Brief Set, CD 2:1

The Fugue Cornerstone of Baroque music Polyphonic composition based on one main theme Vocal or instrumental Subject Main theme Presented initially in imitation Each voice enters after previous voice has completed presenting the subject

Listening Organ Fugue in G Minor by J. S. Bach Note individual voice entry on same melody (subject) Listening Outline: p. 133 Basic Set, CD 2:17 Brief Set, CD 2:06

Ch. 8 - Henry Purcell Ground Bass English composer (1659-1695) Highly regarded, held court positions Buried beneath the organ in Westminster Abbey Dido and Aeneas Ground Bass Repeated musical idea in bass Variation form—melodies above change Also called basso ostinato

The Baroque Sonata Instrumental work Multi-movement piece for one to eight instruments Trio sonata Three melodic lines: basso continuo and two above Written as three parts, but performed by four players Sonata da chiesa—church sonata (dignified) Sonata du camera—chamber sonata (more dance-like, intended for court performance)

Ch. 10 - Arcangelo Corelli Trio Sonata in A Minor, Op.3 No. 10 by Arcangelo Corelli For 2 violins and basso continuo Basic Set, CD 2:23 and 2:24 - p. 146 Note: Polyphonic texture Multi movement work Contrast between movements

Antonio Vivaldi Late Baroque Italian composer Il prete rosso (the red priest) Taught music at girls orphanage in Venice Girls performed at mass hidden behind screen Wrote sacred and secular vocal and instrumental music Famous as a virtuoso violinist & composer

Listening La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) by Vivaldi Listening Outline: p. 148 Basic Set, CD 2:25 Brief Set, CD 2:12 Concerto for violin and string orchestra Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (trills for bird songs, string tremolos for thunder)

Ch. 12 - Johann Sebastian Bach German, late Baroque composer Organist and violinist Deeply religious (Lutheran) Worked in sacred and secular positions Weimar/Cothen/Leipzig Large family Known during lifetime as keyboardist Wrote in every form except opera Recognized for technical mastery Highpoint of polyphony combined w/ harmony All music majors study Bach’s compositions He is the model for learning to write music

Listening Prelude and Fugue in C Minor, from The Well-Tempered Clavier, Book I by Bach Listening Outline: p. 154 Basic Set: CD 2:33 Ornamental passage in the style of improvisation Concludes with bright C major harmony Pedal point

Ch. 13 - The Baroque Suite Instrumental, multi-movement work Written for listening, but based upon dance Movements usually in binary form—AABB Often began with a non-dance overture French overture—2 sections 1st slow, dignified 2nd faster, often beginning as a fugue Forerunner of forms used in the next period

The Chorale and Church Cantata Lutheran church service was social event of the week Lasted 4 hours with 1 hour sermon Music was major part of worship service Congregation participated in singing chorales Chorale: hymn tune w/ German text Cantata Multi-movement church work for chorus, soloists, and orchestra Vernacular religious text Resembled opera in its use of choruses, recitatives, arias, and duets

Listening Wachet auf, ruft uns die Stimme (Awake, A Voice Is Calling Us) by J. S. Bach (1731), Movements 1, 4, & 7 Vocal Music Guides: pp. 164 - 168 Basic Set, CD 2:47 Brief Set, CD 2:23 Note: Vernacular (German) text Chorale tune basis Polyphonic until chorale in movement 7 Movement 7—provides for congregation to join in

The Oratorio Like opera: Unlike opera: Large-scale work for chorus, soloists, and orchestra Contains arias, recitatives, ensembles Unlike opera: No acting, scenery, or costumes Based upon biblical stories Not intended for religious services Commonly performed today in both churches and concert halls

Ch. 16 - George Frederic Handel Born in Germany—same year as Bach Not from musical family Father wanted him to be a lawyer Studied music in Germany, then to Italy to study opera, finally England to work Became England’s most important composer Wrote many operas in London Had own opera company Worked as composer, performer, & impresario Buried in Westminster Abbey

Listening From The Messiah by G. F. Handel (1741) Ev’ry Valley Shall Be Exalted Vocal Music Guide: p. 174 Basic Set, CD 305 Brief Set, CD 2:27 For unto Us a Child Is Born Vocal Music Guide: p. 175 Basic Set, CD 3:06 Hallelujah Chorus Vocal Music Guide: p. 177 Basic Set, CD 3:09 Brief Set, CD 2:39