1. MUH 3211 - Music History I Instrumental Music, 1600-1750
11/8/2018
Chapter Ten
Instrumental Music,
DAY 36 (1 Dec 17)

2. Instrumental Genres (Baroque)
Sonata – “da sonare” – to be sounded - instrumental technique (no vocal models) - wide ranging numbers (1-2 up to ?) - “chamber music”
Concerto – “to work together” - larger groups (multiple players on parts) - based in contrasts (small/solo vs. whole)
Suite – collections of dance pieces - keyboards - ensembles

3. Sonatas
Developed from the canzona tradition - pieces “to be sounded” - Biagio Marini, Sonata per il violino con due corde
Preference to two upper parts over b.c - Trio Sonata (3 parts, but maybe more players) - Maurizio Cazzati, Sonata “La Strozza”
Anth I/89 – violin & b.c. = “solo sonata” - Isabella Leonarda, Sonata duodecima (1693)
Separate Movements – self-contained units - Giovanni Legrenzi, Sonata Op.2 No.1 La Cornara

4. Archangelo Corelli (1653-1713)
Sonatas (2)
Classed by usage
Sonata da camera (chamber) = dance suite - Corelli, Op. 2, No. 10
Sonata da chiesa (church) - Corelli, Op. 1, No. 5 - slow, fast, slow, fast
Solo Sonata (violin & b.c.) - ornamentation in slow mvts (see textbook, p. 265)
Archangelo Corelli ( )

5. Concerto
(eventually) a work for orchestra - contrast between solo/small group & whole
Concerto grosso - concertino vs. ripieno (tutti) - Corelli, Op. 6, No. 2 (Anth I/90) [HIP video]
Solo Concerto [Anth I/91] - one (or two) player(s) vs. entire orchestra - Antonio Vivaldi, Concerto in A min, Op. 3, no. 8 - Ritornello structure

6. “Ospedele della Pietà” (Venice, 1782?) by Gabriele Bella (1730-1799)
MUH Music History I
11/8/2018
“Ospedele della Pietà” (Venice, 1782?) by Gabriele Bella ( )
DAY 36 (1 Dec 17)

7. Antonio Vivaldi (1678-1741) b. 1678, Venice Violin teacher (Ospedele)
MUH Music History I
Antonio Vivaldi ( )
11/8/2018
b. 1678, Venice
Violin teacher (Ospedele)
“the Red Priest”
Music director - Mantua (1718) - Vienna (1727)
Concertos (over 400!)
46 Operas (forgotten)
Gloria (chorus), etc.
DAY 36 (1 Dec 17)

8. Suite Groups of Dances (from Renaissance) Numbers vary per set
Keyboard or Ensemble
Called…. - partita (Germany) - ordre (France) - lesson (England) - etc. … [textbook, 273]
Binary forms (mostly)
Unity by - key - tune (Variation suite)
Variety by dance types (textbook, p. 273)
Anth I/92 - F. Couperin, Bk I, 2d ordre (excerpts) (starts 37:17)
Ornamentation
Style brisé, Style luthé

9. Girolamo Frescobaldi (1583-1643)
Toccata
“free genre” = no rules
toccare = “to touch”
Explores the full range & possibilities of instrument
Short sections of diverse styles, textures, techniques
Frescobaldi on playing (textbook, 277)
ANTH I/94: Toccata IX, Il secondo Libro di Toccate & (alternate version on organ)
“ Non senza fatiga si giunge al fine ” [at end of piece]
Girolamo Frescobaldi ( )

10. Dietrich Buxtehude (1637-1707)
Praeludium
“free,” but predictable
Multi-sectional
Improvisatory opening
Imitative (fugal) sections
Full range of organ
Buxtehude (Danish) – organist
ANTH I/95: BuxWV 149 Praeludium in G minor
Alternate performances - Ton Koopman - Maciej Lamm
Dietrich Buxtehude ( )

11. Fugue J.S. Bach, Well Tempered Clavier Imitative work
“free” but… follows strict procedures
Exposition (all voices) - Subject (I) - Answer (V) - Countersubject
Episodes (no subject)
Stretto (overlap)
Inversion
Retrograde (backwards)
J.S. Bach, Well Tempered Clavier
2 books of 24 = 48
All major & minor keys
Prelude and Fugue
ANTH I/96a - BWV 846 (C major) (fugue – 2:10)
ANTH I/96b - BWV 849 (C# minor) (fugue – 3:12)