1. IGCSE Year 10 October 13 th, 2009

2.  Aristocracy was rich and powerful during the 17 th century  The word baroque = bizarre, elaborately ornamented  Filling up space with action and movement ◦ Contrasting light and dark

3.  Three phases ◦ Early (1600-1640)  Italian composers created opera  Homophonic texture emphasized and unstable chords ◦ Middle (1640-1880)  Modes gave way to major and minor scales  New importance of instrumental music ◦ Late (1680-1750) **  Return to Polyphonic texture  Dominant to tonic chords  Instrumental music = as important as vocal

4.  MOOD ◦ One piece = One mood usually ◦ Exception in vocal music – changes in emotions correspond to changes in musical changes (but usually not suddenly)  RHYTHM ◦ Continuity in rhythm ◦ Emphasis on the beat  MELODY ◦ Also feeling on continuity (reoccurring) ◦ Elaborate and ornamental = not balanced  DYNAMICS ◦ Continuity – if shifts occur, usually sudden = TERRACED DYNAMICS ◦ Use of ORGAN or HARPSICHORD – no finger pressure control ◦ Clavichord = slight changes allowed = for amateur usage

5.  TEXTURE ◦ Polyphonic ◦ Repetition of the melody in different voices ◦ Not all were polyphonic  CHORDS AND BASSO CONTINUO ◦ Chords – became more significant ◦ Sometimes composed melody to fit a chord progression ◦ BASSO CONTINUO and FIGURED BASS  WORDS and MUSIC ◦ Sometimes many notes for one syllable of text

6.  Instruments in the violin family  10-40 players  Based on the basso continuo – harp and cello, bass, or bassoon  Violins and violas  Woodwinds, percussion, brass were added only some of the time – ie. when music was festive  Melody, rhythm and harmony was stressed

7.  Movements that contrast  Movement = complete and independent, but part of a larger work  ABA, AB, Undivided form = ALL COMMON  Contrasting sounds

8.  Music written to order (mainly from churches and courts, and opera companies)  Good pay and prestige of the music director  Job is at the call of the patron  Some had good relationships with their patrons ◦ Ie. Corelli

9.  Church also need music – organ or choir, or orchestra  Church music contributed to the prestige of the city  Music played in public, for taverns etc.  Usually musician jobs = handed down from father to son  Women were not usually employed performers, but many became musicians (ie. Caccini, Strozzi)  To become a musician = pass exam, or do other non-musical requirements

10.  Small group pitted against larger group (Tutti)  2-4 soloists  8-20 in Tutti ◦ String instruments, harpsichord as part of basso continuo  Usually in 3 movements (fast, slow, fast)

11.  Usually the form of the first and last movement of concerto grosso  Alternating between tutti and solo  TUTTI with a theme (ritornello)  Theme returns in different keys in fragments  End of the piece = ritornello in home key ◦ TR (home key) ◦ Solo ◦ TR (fragment) ◦ Solo ◦ TR(fragment) ◦ Solo ◦ TR(home key)

12.  History of the Concerto:

13. Listening Notes:

14.  The fugue: polyphonic composition on one main theme: SUBJECT  Different melody lines (voices) imitate the subject  TOP LINE – soprano voice, bottom is base  4-5 voices, but usually starts in single voice  Sometimes counter subject  Episodes with new material  Some are introduced by a prelude

15.  Key Terms: ◦ Stretto ◦ Pedal Point ◦ Inversion ◦ Retrograde ◦ Diminution

16.  Notes

17.  Instrumental music grew in importance  Sonata = several movements for 1-8 instruments  TRIO sonatas: 2 high instruments, 2 for basso  Sonata da cheisa vs. Sonata da camera

18. Notes:

19. Late Italian Baroque – born in Venice - Violin teacher, composer, conductor - Composed SOLO CONCERTOS – single soloist and orchestra

20. Notes:

21.  Known as the town musicians  Church organist, court organist, then concertmaster  First wife died, leaving 3children – remarried  Cantor in Leipzig, he was a religious man

22.  No opera, his vocal music – usually hymns  Polyphonic texture and rich harmony  Several melodic lines at once – chord progression  Single idea per piece – twisting the inner voices etc

23. Notes:

24.  Same key but different tempo, meter, or character ◦ Allemande ◦ Couratne ◦ Gavotte ◦ Sarabande ◦ Gigue  AABB  Balance and symmetry

25. Notes:

26.  Opera  Chorale/Cantatas  Oratorios

27.  Fusion of music, acting, poetry, dance, scenery, constumes  Began 1600  Orchestra and actors with conductor  LIBRETTO – text  Parts: ◦ Coloratura soprano ◦ Lyric soprano ◦ Dramatic soprano ◦ Lyric tenor ◦ Dramatic teno ◦ Basso buffo ◦ Basso profondo

28.  ARIA  RECITATIVE  ENSEMBLE  CHORUS  PROMPTER  OVERTURE/PRELUDE

29.  Camerata – ancient Greek tragedy  They rejected polyphony  Euridice by Peri earliest opera preserved  Orfeo by Monteverdi  1 st opera house in Venice – 1637  Castrato  Late baroque – secco recitative/accompanied recitatives  ABA da capo Arias

30.  Early Baroque era  Wrote Orfeo  Music directer in Venice  Bridging the 16 th and 17 th century  Wanted emotional intensity in music  Used dissonances, tremolo and pizzicatos

31. Notes:

32.  London, choirboy, then composer then organist  English composer, wrote with all music forms  Wrote Dido and Aeneas  Homophonic textures and polyphony  Used GROUND BASS – repeated bass pattern

33.  Libretto by Nahum Tate – inspired by Aeneid by Virgil  Dido – Queen and Aeneas – king of Trojans  Aeneas lands in Carthage and falls for Dido  False messenger tells Aeneas to leave – Dido suicides

34. Notes:

35. Music used often in churches – 4 hour services! - Chorale: hymn tunes sung to German texts -Usually one note to a syllable -New music was often based on traditional melodies -CHORALE PRELUDES before the hymn - Cantata -Piece that was sung - usually for chorus, vocal soloists, organ and orchestra -Resembled the opera at the time

36. Notes:

37. Large scale for chorus, solo and orchestra - No acting,based on biblical stories - Choruses and arias, duets and recitatives - Longer than cantatas and have story line - Ie. Messiah

38. Italian opera and English oratorio - Studied law in university - Music director at for Hanover - Wrote Rinaldo (opera)- success - Favorite of Queen Anne - Scapegoat of political struggles - 1741: Messiah

39.  Late Baroque- just like Bach  His works are nearly always serious, based on Roman and Greek history  English oratorios – stories from Old Testament  But not for the church, just for entertainment  The chorus was his focus!  Changes texture frequently  Sharp changes in mood – major and minor

40. Notes:

41. Notes Continued: