Chapter 8 Prelude: The Late Baroque Period Musical Life in the Early Eighteenth Century

Key Terms Church Court Opera house

Musical Life in the Early Eighteenth Century Importance of crafts in Baroque era Chippendale furniture, Paul Revere silver, Stradivarius violins Music also regarded as a craft Composers not unique artists, but artisans who produced music to order for their patrons Thus, music often anonymous in character Three main institutions supported music The church The court The opera house

The Church Expectations of church composers— Compose or improvise new music for worship Play or lead performances of their music For special occasions, provide elaborate music for chorus, soloists, & instruments Train boys who sang in choirs Organists play preludes, accompaniments to solemn moments, & postludes Increasing desire for keyboard, chamber, and even orchestral works

The Court Status equivalent to court painter or chef Composers worked at whim of masters, but enjoyed secure existence & pension Composers had to be prolific Musicians’ prestige & working conditions varied from court to court More opportunities for travel Easier to keep up with trends, new developments in music

The Opera House Originally attached to courts Starting in 1637, public opera houses were the first musical institution supported by paid admission Solo singers were the stars Composers wrote (and often rewrote) music to show off solo singers’ talents Composers often conducted their operas from the harpsichord