1. Instrumental Music of the Baroque and Stories without Words
‘Tis the Season(s):
Instrumental Music of the Baroque and Stories without Words

2. Classical Music Concert

6. Two Preliminary Ideas
#1: Instrumental music peripheral until 17th century//central after
#2: Cutting music free of words has far-reaching implications

7. The Baroque Sonata A. Sonata Defined B. Types of Sonata
1. Early Baroque ( )
sonata or canzona=any instrumental composition
Early sonata tied to vocal models
2. Mid- and Late Baroque (ca )
chamber music for 1-2 soloists + b.c.
B. Types of Sonata
Functions
Sonata da camera (chamber sonata)
Stylized dances: Allemande, Courante, Sarabande, Gigue
usually in binary form: ||: a :||: b :||
Sonata da chiesa (church sonata)
Non dance: often Slow/Fast/Slow/Fast
Performing Forces
Solo Sonata
Trio Sonata

9. The Baroque Sonata A. Sonata Defined B. Types of Sonata
1. Early Baroque ( )
sonata or canzona=any instrumental composition
Early sonata tied to vocal models
2. Mid- and Late Baroque (ca )
chamber music for 1-2 soloists + b.c.
B. Types of Sonata
Functions
Sonata da camera (chamber sonata)
Stylized dances: Allemande, Courante, Sarabande, Gigue
usually in binary form: ||: a :||: b :||
Sonata da chiesa (church sonata)
Non dance: often Slow/Fast/Slow/Fast
Performing Forces
Solo Sonata
Trio Sonata

10. First Major Composer of Sonatas:
Arcangelo Corelli
1. Use of modern functional harmony:
2. Driving Force of sequences:

11. II. The Baroque Concerto
A. Origins (mid-Baroque)
concertato style:
based on contrast of performing forces
Concerto based on:
Systematic contrast of Performing Forces
soloist(s) = concertino
vs. ripieno (or tutti)
Rip.
Concertino
Rip.
Concertino
Basso continuo

12. II. The Baroque Concerto
A. Origins
concertato style based on contrasts btw. performing forces
B. Performing Forces
Concertino (solo) vs. ripieno (or tutti)
C. Two Types of Baroque Concerto
Solo Concerto
(e.g., “our” concerto Vivaldi 4 Seasons)
Concerto grosso (e.g., Bach 5th Brandenburg Concerto)
D. The Contrast Principle

15. II. The Baroque Concerto
A. Origins
B. Performing Forces
C. Two Types of Baroque Concerto
D. The Contrast Principle
E. Composers

16. Antonio Vivaldi
The Four Seasons, “Spring,” 1st Movement

17. II. The Baroque Concerto
A. Origins
B. Performing Forces
C. Two Types of Baroque Concerto
D. The Contrast Principle
E. Composers
F. Form of the Baroque Concerto
1. Three Movements: Fast/Slow/Fast
2. Outer movements in Ritornello Form

18. Ritornello Form: Ritornello= Ritornello returns Main Theme
Played by Ripieno
(full ensemble)
Ritornello returns
at end
Abbreviated Returns
Of rit.
Episodes (Solo Episodes)

19. Ritornello Form: Rip. Rip. Concertino Concertino Ritornello=
Main Theme
Played by Ripieno
(full ensemble)
Ritornello returns
at end
Rip.
Concertino
Rip.
Concertino

20. 2. Contrast of Themes: Ritornello Theme vs. Solo Melodies
Ritornello Form:
Double Contrast
1. Contrast of Performing Forces (Ripieno vs. Concertino)
2. Contrast of Themes: Ritornello Theme vs. Solo Melodies

21. III. Antonio Vivaldi’s Spring Concerto (1st Mvmt)
Ritornello = AABB 3
1=2
4=3 inverted
3=1 reversed
4=5
6=4 fragmented

22. III. Antonio Vivaldi’s Spring Concerto (1st Mvmt)
Ritornello = AABB 3
The Logic of “Wordless” Instrumental Music:
Delight in play with patterns,
Abstract relationships
Quasi-mathematical networks
Music “talks” about itself

23. The Logic of Words: Words refer to
objects/ideas beyond themselves

24. Vivaldi’s “Four Seasons:
Weds
Abstract, Musical logic to
The Referential Logic of Words