The Enjoyment of Music 10th Shorter Edition

Unit VIII Instrumental Music of the Baroque Vivaldi J.S. Bach Handel The Enjoyment of Music 10th, Shorter Edition

25. The Baroque Sonata and Concerto The Rise of Instrumental Music Early- vs. late-Baroque instrumentation 25. The Baroque Sonata and Concerto The Rise of Instrumental Music Instrumental music gained position of importance in the Baroque Virtuosos raised the technique of playing to new heights Early-Baroque composers did not specify instrumentation Late-Baroque composers chose instruments according to timbre The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Baroque Instruments Instrument designs were improved Finest violins in history came from shops of Stradivarius Guarneri Amati Baroque Instruments Instrument designs were improved Finest violins in history came from shops of: Stradivarius Guarneri Amati The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition The Baroque Orchestra Violin strings made of gut Woodwinds made of wood Horns and trumpets: valveless, called “natural” Timpani The Baroque Orchestra Baroque violin strings made of gut (today’s are of steel) Woodwinds were all made of wood Trumpet moves from purely military use to orchestral member Horns and trumpets were valveless, called “natural” instruments Could play in only one key at a time Timpani occasionally added to the orchestra The Enjoyment of Music 10th, Shorter Edition

Baroque Keyboard Instruments Organ Harpsichord Clavichord Baroque Keyboard instruments Organ: used at church and home Harpsichord: strings are plucked by quills, cannot sustain tones Clavichord: metal levers exert pressure on strings harpsichord The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Sonata Types Sonata da camera Sonata da chiesa Written for 1–8 instruments Favored combination: two violins and continuo Trio sonata Sonata Types The sonata was the most popular form of chamber music Early sonatas: one sectional movement or several contrasting movements Sonata da camera: chamber sonata, typically a group of stylized dances Sonata da chiesa: church sonata, more serious and contrapuntal, four movements, tempo sequence slow-fast-slow-fast Written for 1–8 instruments Favored combination: two violins and continuo Trio sonata Trio sonata: sonata printed on three staves of music, actually performed by four players (continuo requires two players) The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Baroque Concerto Contrast and unity Latin concertare (“to contend with”) Opposition of different forces Baroque Concerto Basic elements of Baroque: contrast and unity Concerto: from the Latin concertare (“to contend with”) Instrumental form based on the opposition of different forces The Enjoyment of Music 10th, Shorter Edition

Concerto Grosso Concertino Ripieno, or tutti Two Types of Concerto Solo Concerto Vivaldi: Concerto for Piccolo in C, I Concerto Grosso Concertino Ripieno, or tutti Handel: Concerto Grosso in G, II Two types of concerto Solo concerto: one instrument set against the orchestra Concerto grosso: small group of soloists set against orchestra Concertino: small group in the concerto grosso Ripieno, or tutti: large group in the concerto grosso The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Antonio Vivaldi (1678–1741) Italian violinist and composer “The red priest” Conservatorio del’Ospedale della Pietà (Venice) Prolific composer Antonio Vivaldi (1678–1741) Catholic Priest in Venice, “the red priest” (reference to hair color) Music master at the Conservatorio del’Ospedale della Pietà School for orphaned girls Prolific composer: More than 500 concertos Chamber music Operas Cantatas An Oratorio Extended setting of the Gloria “Above all, he was possessed by music.” —Marc Pincherle The Enjoyment of Music 10th, Shorter Edition

Vivaldi: The Four Seasons (Le quattro stagioni) (Listening Guide) Group of four violin concertos Each concerto accompanied by a poem Music depicts specific lines of the poem No. 1: “Spring” (La primavera) No. 2: “Summer” (L’estate) No. 3: “Autumn” (L’autunno) No. 4: “Winter” (L’inverno) Vivaldi: The Four Seasons, (Le quattro stagioni) (Listening Guide) Group of four violin concertos Each concerto accompanied by a poem Music depicts specific lines of the poem The Enjoyment of Music 10th, Shorter Edition

Vivaldi: The Four Seasons (Le quattro stagioni) (Listening Guide) “Spring” (La primavera) Solo violin, string orchestra, continuo Three movements: I: Evokes animals and nature Ritornello form II: Largo in triple meter Imagery form a sleeping goatherd’s poem Ostinato “dog bark” in violas III: Rustic dance, drone of bagpipes Spring (La primavera) Solo violin with string orchestra and continuo Three movements: I: Evokes bird song, murmuring streams, thunder, lightning orchestral ritornello: a refrain returns again and again ritornello form: alternating new material and refrain II: Largo in triple meter Evokes an image from poem describing a sleeping goatherd Ostinato dog bark is heard in violas III: Rustic Dance, evokes drone of bagpipes Listening Guide PDF The Enjoyment of Music 10th, Shorter Edition

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The Enjoyment of Music 10th Shorter Edition

The Enjoyment of Music 10th, Shorter Edition 26. The Baroque Suite Suite: Each movement is A-A-B-B Allemande Courante Sarabande Gigue (jig) Other optional dances: minuet, gavotte, bourrée, passepied Repeated sections ornamented second time Corelli. Violin Sonata, Gigue 26. The Baroque Suite and Other Instrumental Forms Suite: a group of dances, usually in the same key, in binary form (A-A-B-B) Standard dances in a suite: Allemande: German dance, quadruple meter, moderate tempo Courante: French dance in triple meter at moderate tempo Sarabande: stately Spanish dance in triple meter Gigue (jig): English dance in a lively 6/8 or 6/4 Other optional dances: minuet, gavotte, bourrée, passepied Repeated sections in binary form were ornamented when played for second time Noted composers of suites: Arcangelo Corelli, J. S. Bach, Georg Philipp Telemann, François Couperin, Elisabeth-Claude Jacquet de la Guerre, George Frideric Handel The Enjoyment of Music 10th, Shorter Edition

Handel and the Orchestral Suite Two notable suites by Handel Water Music Music for the Royal Fireworks Handel and the Orchestral Suite Two notable suites by Handel Water Music Music for the Royal Fireworks The Enjoyment of Music 10th, Shorter Edition

Water Music, Suite in D major, II (Listening Guide) Royal party on the Thames River in London, July 17, 1717 22 numbers Performed without continuo Divided into three suites Water Music, Suite in D major, I and II (Listening Guide) Royal party on the Thames River in London, July 17, 1717 22 numbers Performed without continuo (no harpsichord on a boat) Divided into three suites The Enjoyment of Music 10th, Shorter Edition

Water Music, Suite in D major, II (Listening Guide) D-major Suite Opens with fanfare-like theme in trumpets Answered by horns and strings Followed by lively hornpipe (dance) Listening Guide PDF D-major Suite Opens with fanfare-like theme in trumpets Answered by horns and strings Followed by lively hornpipe (dance) The Enjoyment of Music 10th, Shorter Edition

Music at the French Royal Court Grand entertainments of Louis XIV and Louis XV Court composer: Jean-Baptiste Lully Composer at the Palace of Versailles (outside Paris) Director of the 24 Violons du Roy The Enjoyment of Music 10th, Shorter Edition

Jean-Joseph Mouret (1682-1738) Theatrical composer at the court in Paris Stage works Divertissements Instrumental suites Suite de symphonies The Enjoyment of Music 10th, Shorter Edition

Mouret: Rondeau, from Suite de symphonies (Listening Guide) Written for a full Baroque orchestra Familiar fanfare used as theme music for television show 5-part rondo structure (A-B-A-C-A) A section serves as a refrain Regular phrasing, with a strong, even beat Listening Guide PDF The Enjoyment of Music 10th, Shorter Edition

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The Enjoyment of Music 10th Shorter Edition

27. Other Instrumental Forms Passacaglia Chaconne French overture Italian overture Purcell: Come, ye sons of art away Other Baroque Orchestral Forms: Passacaglia: melodic theme is repeated again and again in the bass, with variations written above it Chaconne: variations based on repeated harmonic progression French overture: slow-fast, fast section is usually fugal Italian overture: fast-slow-fast, vivacious dancelike finale (predecessor to the Classical-era symphony) The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Keyboard forms Two basic types (1) Based on harmony with strong element of improvisation Prelude Chorale prelude (2) Stricter forms based on counterpoint Fugue Bach: The Well-Tempered Clavier Bach: Jesu, Joy of Man’s Desiring Keyboard forms: Two basic types (1) Based on harmony with strong element of improvisation Prelude: short introductory piece based on improvisation Chorale prelude: embellished chorale tune, introductory (2) Stricter forms based on counterpoint Fugue Bach: Fugue in D The Enjoyment of Music 10th, Shorter Edition

The Fugue and Its Devices Fuga Contrapuntal, based on imitation Subject unifies the work Choral or instrumental Melodic lines are referred to as voices Name derived from fuga, Latin word for “flight” Contrapuntal composition based on imitation The main theme, the subject, unifies the work May be choral or instrumental Melodic lines are referred to as voices The Enjoyment of Music 10th, Shorter Edition

Episodes are interludes between subject statements Modulation to foreign keys Use of contrapuntal devices Use of stretto is common Piece ends in tonic key Episodes are interludes between statements of the subjects that serve as areas of relaxation Modulation to foreign keys Use of contrapuntal devices: inversion, retrograde, retrograde inversion, augmentation, and diminution Use of stretto (different voices present theme in close succession) Piece ends in tonic key The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Contrapuntal Devices Original: Inversion: Retrograde: Retrograde inversion: Augmentation: Diminution: MELODY MELODY MELODY MELODY MELODY MELODY The Enjoyment of Music 10th, Shorter Edition

Form: Opening of Exposition Fugue Exposition (4 voice) Subject Countersubject I Countersubject 2 Contrapuntal line Answer Countersubject I Countersubject 2 Subject Countersubject 1 Answer Form: Exposition and Episode Exposition: Subject is stated alone at the beginning in the tonic Subject is then imitated in another voice (called the answer) in the dominant First voice continues with countersubject Next voice enters with subject 2nd voice continues with countersubject 1st voice continues with a contrapuntal line Depending on number of voices this pattern continues Once the subject has been presented in each voice once, the exposition ends The Enjoyment of Music 10th, Shorter Edition

Form: Exposition and Episode Subject Entry Episode Episodes are interludes between statements of the subjects that serve as areas of relaxation Modulation to foreign keys Use of contrapuntal devices: inversion, retrograde, retrograde inversion, augmentation, and diminution Use of stretto (different voices present theme in close succession) Piece ends in tonic key The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Bach's Contrapunctus I, from The Art of Fugue (Listening Guide) Listening Guide PDF 4-voice fugue Exposition: Subject is presented in order: alto-soprano-bass-tenor Episode: Subject appears partially, in stretto Incorporates musical symbolism His name in notes Bb-A-C-H Bach: Prelude and Fugue in C Minor, from The Well-Tempered Clavier, Book I (Listening Guide) Prelude Based on running notes “perpetual motion” Sounds improvisatory Fugue Three voices, subject in alto, soprano, then bass Relentless driving rhythm The Enjoyment of Music 10th, Shorter Edition

Transition II: To the Age of Enlightenment Rococo, in France Empfindsamkeit, in Germany Transition II: To the Age of Enlightenment Two pre-Classical styles prevailed in the early eighteenth century: Rococo, in France; Empfindsamkeit, in Germany The Enjoyment of Music 10th, Shorter Edition

The Rococo and the Age of Sensibility French rocaille, a “shell” Reaction against Baroque style François Couperin (1668–1733) Precursor to Age of Enlightenment Systematization of knowledge Jean-Philippe Rameau (1683–1784), Treatise on Harmony (1722)  The Rococo and the Age of Sensibility Rococo French rocaille, a “shell” Reaction against Baroque style François Couperin (1668–1733) Precursor to Age of Enlightenment Systematization of knowledge Jean-Philippe Rameau (1683–1784), Treatise on Harmony (1722) The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Age of Sensibility In Germany: Empfindsamkeit Sons of Bach: Wilhelm Friedmann Carl Philipp Emanuel Johann Christoph Johann Christian Age of Sensibility In Germany, the style of Empfindsamkeit Style reached its apex in mid-eighteenth century with the sons of Bach Wilhelm Friedmann Carl Philipp Emanuel Johann Christoph Johann Christian And their contemporaries The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Expanded forms Pre-Classical period (c. 1725–75) Classical multimovement cycle Sonata, concerto, and symphonic styles expanded Pre-Classical period (c. 1725–75) New form: Classical multimovement cycle was developed The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition The Changing Opera Satirization of Opera London: John Gay’s The Beggar’s Opera (1728) Paris: Giovanni Battista Pergolesi’s La serva padrona (1752) War of the Buffoons John Gay The Changing Opera Grandiose Baroque opera was satirized all over Europe Opera seria was defeated in London by John Gay’s The Beggar’s Opera (1728) Paris: Giovanni Battista Pergolesi’s La serva padrona (1752) War of the Buffoons erupted between those who welcomed comedy and those who favored the older opera seria The Enjoyment of Music 10th, Shorter Edition

The Enjoyment of Music 10th, Shorter Edition Gluck and Opera Reform Christoph Willibald Gluck (1714–1787) German-born, Italian-trained Changed conventions Words are master to the music “Simplicity, truth, naturalness” Gluck and Opera Reform Christoph Willibald Gluck (1714–1787) German-born, Italian trained Sought to free opera from outmoded conventions In his operas, the words are master to the music, no over-embellishment He sought “simplicity, truth, naturalness” in composition The Enjoyment of Music 10th, Shorter Edition

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