1. The Enjoyment of Music 10th Shorter Edition

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

3. 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
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4. 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
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5. 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
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6. 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
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7. 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)
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8. 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
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9. 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
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10. 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
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11. 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
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12. 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
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13. The Enjoyment of Music 10th, Shorter Edition
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14. The Enjoyment of Music 10th Shorter Edition

15. 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
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16. 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
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17. 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
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18. 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)
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19. 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
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20. Jean-Joseph Mouret (1682-1738)
Theatrical composer at the court in Paris
Stage works
Divertissements
Instrumental suites
Suite de symphonies
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21. 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
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22. The Enjoyment of Music 10th, Shorter Edition
The Enjoyment of Music 10th, Shorter Edition

23. The Enjoyment of Music 10th Shorter Edition

24. 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)
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25. 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
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26. 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
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27. 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
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28. The Enjoyment of Music 10th, Shorter Edition
Contrapuntal Devices
Original:
Inversion:
Retrograde:
Retrograde inversion:
Augmentation:
Diminution:
MELODY
MELODY
MELODY
MELODY
MELODY
MELODY
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29. 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
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30. 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
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31. 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
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32. 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
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33. 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)
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34. 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
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35. 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
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36. 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
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37. 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
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38. The Enjoyment of Music 10th, Shorter Edition
The Enjoyment of Music 10th, Shorter Edition