1. BAROQUE 1600-1750

2. HISTORICAL PEOPLE & EVENTS Sir Frances Bacon: 1561-1626 Sir Frances Bacon: 1561-1626 Rene Descartes: 1596-1650 Rene Descartes: 1596-1650 Galileo Galilei: 1564-1642 Galileo Galilei: 1564-1642 Sir Isaac Newton: 1642-1727 Sir Isaac Newton: 1642-1727 Johannes Kepler sets forth astronomical laws: 1609 Johannes Kepler sets forth astronomical laws: 1609 Thirty Years’ War: 1618-48 Thirty Years’ War: 1618-48 Mayflower brings English colonists to New England: 1620 Mayflower brings English colonists to New England: 1620 English Civil War: 1642-49 English Civil War: 1642-49 Reign of Louis XIV in France: 1643-1715 Reign of Louis XIV in France: 1643-1715

3. GROWING MIDDLE AND UPPER CLASS Patronage system still important for musicians, but public concerts emerge Patronage system still important for musicians, but public concerts emerge Beginnings of capitalism & joint stock ventures: important means for funding large opera productions Beginnings of capitalism & joint stock ventures: important means for funding large opera productions Italian influence: very important in the arts Italian influence: very important in the arts

4. GENERAL CHARACTERISTICS OF BAROQUE MUSIC Basso Continuo (continuous bass) Basso Continuo (continuous bass) Chords: vertical harmony important; often improvised Chords: vertical harmony important; often improvised Tendency towards homophony Tendency towards homophony Development of major/minor tonalities Development of major/minor tonalities Rhythm: could be free (recitatives) or speech-like; or strongly measured (metric) with bar now the norm; strong downbeats Rhythm: could be free (recitatives) or speech-like; or strongly measured (metric) with bar now the norm; strong downbeats Emotion in music was essential to this era: the idea of affections Emotion in music was essential to this era: the idea of affections Dramatic/energetic/decorative/sense of motion & movement Dramatic/energetic/decorative/sense of motion & movement

5. FLORENTINE CAMERATA Late 16th century: gathering of poets, composers, & noblemen in Florence, Italy Late 16th century: gathering of poets, composers, & noblemen in Florence, Italy This group promoted a revival of interest in Greek Tragedies This group promoted a revival of interest in Greek Tragedies Wanted to recreate “original” or authentic performances of Greek tragedies Wanted to recreate “original” or authentic performances of Greek tragedies Were convinced that, originally, the tragedies were sung (chanted) in some way Were convinced that, originally, the tragedies were sung (chanted) in some way Felt that the text should be delivered as a “solo” with simply bass line (“monody”) Felt that the text should be delivered as a “solo” with simply bass line (“monody”)

6. OPERA In Renaissance Era, drama & spectacle were combined in various genres, especially Intermedio musical interludes between acts of a play In Renaissance Era, drama & spectacle were combined in various genres, especially Intermedio musical interludes between acts of a play Jacopo Peri, Dafne (1598) wrote first opera: “staged drama, sung throughout, with music designed to convey the character’s emotions.” Jacopo Peri, Dafne (1598) wrote first opera: “staged drama, sung throughout, with music designed to convey the character’s emotions.” Emilio de Cavalieri: Rappresentatione di Anima et di Corpo (Representation of the Soul & the Body): February 1600 Emilio de Cavalieri: Rappresentatione di Anima et di Corpo (Representation of the Soul & the Body): February 1600Rappresentatione di Anima et di Corpo Rappresentatione di Anima et di Corpo Earliest Surviving Opera: Jacopo Peri’s Euridice: October 1600 Earliest Surviving Opera: Jacopo Peri’s Euridice: October 1600 Euridice

7. CLAUDIO MONTEVERDI (1567-1643) Born Cremona, Italy Born Cremona, Italy 1590: Begins employment under the Duke of Mantua (Vincenzo Gonzaga) 1590: Begins employment under the Duke of Mantua (Vincenzo Gonzaga) By 1602: Master of the Duke’s music chapel By 1602: Master of the Duke’s music chapel 1613-1643: Choirmaster at St. Mark’s Venice (one of the most important positions in music in Italy at that time) 1613-1643: Choirmaster at St. Mark’s Venice (one of the most important positions in music in Italy at that time) Early career: wrote madrigals (1st 5 books were published from 1587-1605) Early career: wrote madrigals (1st 5 books were published from 1587-1605) Several years later, the Duke of Mantua’s elder son asked Monteverdi to write “fable in music” for the local learned academy Several years later, the Duke of Mantua’s elder son asked Monteverdi to write “fable in music” for the local learned academy

8. MONTEVERDI’S ORFEO ORFEO Performed twice Performed twice First time: Sat., February 24, 1607 (Male nobility only were in the audience) First time: Sat., February 24, 1607 (Male nobility only were in the audience) Second performance: a few days later: women were also admitted into this performance Second performance: a few days later: women were also admitted into this performance In first performance: soprano parts were taken by men (though the Duke had women in his employ; since the first performance was for an all-male audience, the singers needed to be all- male) In first performance: soprano parts were taken by men (though the Duke had women in his employ; since the first performance was for an all-male audience, the singers needed to be all- male)

9. GIOVANNI GABRIELI (C. 1553-1612) Choirmaster of St. Mark’s Choirmaster of St. Mark’s Wrote polychoral (antiphonal) works Wrote polychoral (antiphonal) works “Sacred” or “Grand’ Concerto “Sacred” or “Grand’ Concerto Very influential Very influential Similar compositions continue to be written generations after Gabrieli Similar compositions continue to be written generations after Gabrieli Ex. Grand Concerto: In ecclesiis Ex. Grand Concerto: In ecclesiisGrand Concerto: In ecclesiisGrand Concerto: In ecclesiis

10. EARLY ORATORIO Sacred dialogues, combined elements of narrative, dialogue, etc.; not usually intended for staged performance Sacred dialogues, combined elements of narrative, dialogue, etc.; not usually intended for staged performance Most often performed in the oratory of a church (Later, performed in palaces & other venues as a substitute for opera during Lent) Most often performed in the oratory of a church (Later, performed in palaces & other venues as a substitute for opera during Lent) Usually in Latin--- occasionally in vernacular languages from late 17th c. onwards Usually in Latin--- occasionally in vernacular languages from late 17th c. onwards Ex: Historia di Jephte by Giacomo Carissimi Ex: Historia di Jephte by Giacomo CarissimiHistoria di Jephte Historia di Jephte

11. HEINRICH SCHUTZ (1585-1672) Greatest German composer of mid 17th c. Greatest German composer of mid 17th c. Student of Gabrieli Student of Gabrieli From 1617 to the end of his life: Master of the Chapel From 1617 to the end of his life: Master of the Chapel Reputedly wrote the first German opera (does not survive) Reputedly wrote the first German opera (does not survive) Wrote variety & quantity of church music Wrote variety & quantity of church music Composed German Psalter, Latin Motets, Scared Symphonies, Oratorios, incl. the Seven Last Words of Christ Composed German Psalter, Latin Motets, Scared Symphonies, Oratorios, incl. the Seven Last Words of Christ Style: Venetian magnificence Style: Venetian magnificence Use of word painting and bold dissonances Use of word painting and bold dissonances Example: Saul, was verfolgst du mich Example: Saul, was verfolgst du michSaul, was verfolgst du michSaul, was verfolgst du mich

12. DANCE MUSIC The Suite: The Suite: Multi-movement instrumental work, made up of a series of dance movements Multi-movement instrumental work, made up of a series of dance movements Paired dances (slow/fast) had existed since the Middle Ages Paired dances (slow/fast) had existed since the Middle Ages France France Ordres: often written for harpsichord Ordres: often written for harpsichord Example: La Visionaire (French overture) Example: La Visionaire (French overture)La Visionaire La Visionaire Germany Germany Allemande, Courante, Sarabande, and Gigue Allemande, Courante, Sarabande, and Gigue Example: Pieces de clavecin Example: Pieces de clavecinPieces de clavecinPieces de clavecin

13. HENRY PURCELL (1659-1695) Leading composer of the English Baroque Leading composer of the English Baroque Held many important positions in his life, including organist at Westminster Abbey and organist of the Chapel Royal Held many important positions in his life, including organist at Westminster Abbey and organist of the Chapel Royal Composed much music: instrumental and vocal, sacred and secular Composed much music: instrumental and vocal, sacred and secular Best known for his opera, Dido and Aeneas, which incorporates elements of French opera (after Lully), English spectacle (“masque”) and Italian opera (presence of several arias) Best known for his opera, Dido and Aeneas, which incorporates elements of French opera (after Lully), English spectacle (“masque”) and Italian opera (presence of several arias)Dido and AeneasDido and Aeneas

14. THE SONATA Term used very frequently in Italy from 17th century onwards Term used very frequently in Italy from 17th century onwards From the Italian, “sonare” (to make sound) From the Italian, “sonare” (to make sound) Various sub-genres existed: ensemble vs solo sonata Various sub-genres existed: ensemble vs solo sonata Ensemble sonata: consisted of 2-4 solo players plus basso continuo Ensemble sonata: consisted of 2-4 solo players plus basso continuo Most common ensemble sonata: trio sonata, requiring 4 players, 2 solo (melody line) plus 2 bass players (playing basso continuo) Most common ensemble sonata: trio sonata, requiring 4 players, 2 solo (melody line) plus 2 bass players (playing basso continuo) Solo Sonata: for 1 melody player plus basso continuo (usually requires 3 players) Solo Sonata: for 1 melody player plus basso continuo (usually requires 3 players) Sonatas also are divided up into 2 categories, based on format of movements: Sonatas also are divided up into 2 categories, based on format of movements: Sonata da camera (“Chamber sonata”): basically a dance suite, first movement might be an abstract movement or prelude Sonata da camera (“Chamber sonata”): basically a dance suite, first movement might be an abstract movement or prelude Sonata da Chiesa (“Church sonata”): Succession of slow/fast movements (fast movements might be dance-inspired but would not have dance titles). Movements given abstract titles such as Largo, Allegro, etc. Sonata da Chiesa (“Church sonata”): Succession of slow/fast movements (fast movements might be dance-inspired but would not have dance titles). Movements given abstract titles such as Largo, Allegro, etc.

15. ARCANGELO CORELLI (1653-1713) CORELLI Italian violinist and composer Italian violinist and composer 1671 onwards: lived and worked in Rome, Italy 1671 onwards: lived and worked in Rome, Italy Wrote series of sonatas and concerti grossi Wrote series of sonatas and concerti grossi Did not “invent” the sonata form, but did popularize (as well as the concerto grosso) Did not “invent” the sonata form, but did popularize (as well as the concerto grosso) Violinist and teacher: his music exploited the cantabile qualities of the violin (as opposed to virtuosic writing for the violin) Violinist and teacher: his music exploited the cantabile qualities of the violin (as opposed to virtuosic writing for the violin) Corelli’s music was well-known in his lifetime, with many printed editions made in London, Amsterdam, Paris, etc., as well as Rome. Corelli’s music was well-known in his lifetime, with many printed editions made in London, Amsterdam, Paris, etc., as well as Rome. Corelli’s music served as models for many generations following, especially Handel, Bach, and Vivaldi Corelli’s music served as models for many generations following, especially Handel, Bach, and Vivaldi Trio and solo sonatas ultimately begin to be written by composers in England, France, and Germany Trio and solo sonatas ultimately begin to be written by composers in England, France, and Germany

16. HISTORY OF THE VIOLIN Antecedents of the violin: the medieval rebec and fiddle (fiedel) Antecedents of the violin: the medieval rebec and fiddle (fiedel) By 1520, early violin in existence; initially popular primarily as a dance instrument or for outdoor ceremonies & events, since it was louder than the viola da gamba By 1520, early violin in existence; initially popular primarily as a dance instrument or for outdoor ceremonies & events, since it was louder than the viola da gamba Very rapidly becomes important as a concert or solo instrument, of equal importance to the viola da gamba Very rapidly becomes important as a concert or solo instrument, of equal importance to the viola da gamba 1520-1550: The Viola and Cello (larger instruments in the violin family) evolved 1520-1550: The Viola and Cello (larger instruments in the violin family) evolved Cremona, Italy: becomes a center for violin making Cremona, Italy: becomes a center for violin making 16th and 17th century: the Amati family were very important in the development of the violin 16th and 17th century: the Amati family were very important in the development of the violin Nicolo Amati (1596-1684) taught Andrea Guarneri and Antonio Stradivarius (“Stradivarius”) Nicolo Amati (1596-1684) taught Andrea Guarneri and Antonio Stradivarius (“Stradivarius”) Antonio Stradivarius (1644-1737): violin maker Antonio Stradivarius (1644-1737): violin maker

17. RENAISSANCE ENSEMBLES The ideal Renaissance Instrumental Ensemble tended to be fairly small, and consisted of similar instruments in different sizes: such as a consort of viols or recorders The ideal Renaissance Instrumental Ensemble tended to be fairly small, and consisted of similar instruments in different sizes: such as a consort of viols or recorders The Baroque era brought with it increased interest in enlarging instrumental ensembles, and also, in having instruments of differing timbres playing together (an early example of this is: Monteverdi’s Orfeo The Baroque era brought with it increased interest in enlarging instrumental ensembles, and also, in having instruments of differing timbres playing together (an early example of this is: Monteverdi’s Orfeo Large, instrumental ensembles begin to be common Large, instrumental ensembles begin to be common These ensembles might be used for accompanying operas, opera- ballets, for dance music, or as an independent musical entity These ensembles might be used for accompanying operas, opera- ballets, for dance music, or as an independent musical entity Ensembles could vary from 9 to 10 players or more, up to huge, massed, outdoor orchestras of hundreds of players for special festive occasions Ensembles could vary from 9 to 10 players or more, up to huge, massed, outdoor orchestras of hundreds of players for special festive occasions At the same time, chamber music (solo sonatas, trio sonatas, etc.) was flourishing At the same time, chamber music (solo sonatas, trio sonatas, etc.) was flourishing By the end of the 17th century, distinction between chamber music (1 on a part) and orchestral ensembles (larger ensembles, often with multiple players on a part) begins to be made By the end of the 17th century, distinction between chamber music (1 on a part) and orchestral ensembles (larger ensembles, often with multiple players on a part) begins to be made

18. ANTONIO VIVALDI (1678-1741) VIVALDI Educated for both the priesthood and for music Educated for both the priesthood and for music Known as “il prete rosso” Known as “il prete rosso” From 1703-1740, employed off and on as conductor, composer, and music teacher at the Pio Ospedal della Pieta (Hospital of Pity) in Venice. Very high standards of music attained From 1703-1740, employed off and on as conductor, composer, and music teacher at the Pio Ospedal della Pieta (Hospital of Pity) in Venice. Very high standards of music attained Traveled throughout Europe (opera producer) Traveled throughout Europe (opera producer) Wrote 49 operas Wrote 49 operas Wrote 500 concertos (violin, cello, flute, oboe, guitar, bassoon, piccolo) Wrote 500 concertos (violin, cello, flute, oboe, guitar, bassoon, piccolo) Wrote Numerous sonatas, cantatas, motets, etc. Wrote Numerous sonatas, cantatas, motets, etc. Famous violinist, noted for beautiful cantabile playing, and also for virtuoso, brilliant, technical displays Famous violinist, noted for beautiful cantabile playing, and also for virtuoso, brilliant, technical displays

19. JOHANN SEBASTIAN BACH (1685-1750) Came from a long line of musicians in Germany and studied with his father Came from a long line of musicians in Germany and studied with his father Organist and young musician Organist and young musician Appointed to the select body of singers who formed the 'Mettenchor' (Mattins Choir) Appointed to the select body of singers who formed the 'Mettenchor' (Mattins Choir) Lost Soprano voice but became a violinist in the orchestra and as an accompanist at the harpsichord Lost Soprano voice but became a violinist in the orchestra and as an accompanist at the harpsichord 1703-1707: Organist at Arnstadt 1703-1707: Organist at Arnstadt 1707-1708: Organist at Muhlhausen 1707-1708: Organist at Muhlhausen 1708-1717: Court organist & concertmaster for the Duke of Weimar 1708-1717: Court organist & concertmaster for the Duke of Weimar 1717-1723: Music Director for Prince Cothen 1717-1723: Music Director for Prince Cothen 1723-1750: Cantor of St. Thomas’ Church and School in Leipzig (one of the foremost positions in Germany) 1723-1750: Cantor of St. Thomas’ Church and School in Leipzig (one of the foremost positions in Germany)

20. BACH’S WORKS Organ works: Preludes, Fugues, Chorale Preludes, etc. Organ works: Preludes, Fugues, Chorale Preludes, etc.Preludes Clavier suites: 3 sets of 6 suites each Clavier suites: 3 sets of 6 suites each Instrumental works: Solo Violin Poxtitas (6), Solo Cello Suites (6), Solo Flute (1), 6 Brandenburg Concertos, and Concertos for solo violin and harpsichord Instrumental works: Solo Violin Poxtitas (6), Solo Cello Suites (6), Solo Flute (1), 6 Brandenburg Concertos, and Concertos for solo violin and harpsichord Bach’s Vocal Music (1723-1750) Bach’s Vocal Music (1723-1750) 58 Cantatas per year required 58 Cantatas per year required Mass in B Minor (1747-49) Mass in B Minor (1747-49)

21. ORATORIOS Usually based upon Old Testament stories Usually based upon Old Testament stories Intended for concert hall performance Intended for concert hall performance Most important innovation is in the use of the chorus: influenced by the English choral tradition Most important innovation is in the use of the chorus: influenced by the English choral tradition Inventive Inventive Inexhaustible flow of melodies and ideas Inexhaustible flow of melodies and ideas Use of chorus is idiomatic: everything fits the vocal parts well Use of chorus is idiomatic: everything fits the vocal parts well Texture: varied, from homophonic to polyphonic Texture: varied, from homophonic to polyphonic Musical symbolism and word painting Musical symbolism and word painting

22. GEORGE FRIDERIC HANDEL (1685-1759) Born in Halle, Saxony (part of Germany) Born in Halle, Saxony (part of Germany) Early musical studies: violin, harpsichord, organ Early musical studies: violin, harpsichord, organ Parents want him to study law: goes to Halle University, soon drops out to pursue music: goes to Hamburg, Germany (age 18) Parents want him to study law: goes to Halle University, soon drops out to pursue music: goes to Hamburg, Germany (age 18) 1703-06: In Hamburg: Violinist in Hamburg Opera, the eventually Director of Opera 1703-06: In Hamburg: Violinist in Hamburg Opera, the eventually Director of Opera Wrote first opera (Italian opera) Almira, in 1705 Wrote first opera (Italian opera) Almira, in 1705 1706-1710: Handel is in Italy, where he is regarded as one of the up & coming opera composers of his generation 1706-1710: Handel is in Italy, where he is regarded as one of the up & coming opera composers of his generation 1709: Wrote Agrippina 1709: Wrote AgrippinaAgrippina 1710: Handel is appointed Music Director at the Electoral Court of Hanover (for the Elector, George Ludwig) in Germany 1710: Handel is appointed Music Director at the Electoral Court of Hanover (for the Elector, George Ludwig) in Germany Early on in, while he is tenure for the Elector George, Handel asks for permission to leave the Elector (and his musical duties) in order to travel to London Early on in, while he is tenure for the Elector George, Handel asks for permission to leave the Elector (and his musical duties) in order to travel to London

23. HANDEL CONTINUED However, in 1714, Queen Anne (the ruling monarch) of England dies without heir, and the closest Protestant successor to the throne is he Elector George However, in 1714, Queen Anne (the ruling monarch) of England dies without heir, and the closest Protestant successor to the throne is he Elector George Royal Activity, organized 1718-1719 as a joint stock venture of 60 noblemen to produce operas in England Royal Activity, organized 1718-1719 as a joint stock venture of 60 noblemen to produce operas in England 1720-28: Handel wrote operas for the Royal Academy 1720-28: Handel wrote operas for the Royal Academy 1728: John Gay’s opera, the Beggar’s Opera (in English): symptomatic of the gradual lessening of interest in Italian opera in England 1728: John Gay’s opera, the Beggar’s Opera (in English): symptomatic of the gradual lessening of interest in Italian opera in England 1729: Royal Academy stopped producing operas; Handel took it over 1729: Royal Academy stopped producing operas; Handel took it over 1730s: two competing opera companies: Handel’s company & Opera of Nobility: eventually the two companies went nearly bankrupt; the Opera of Nobility folded 1730s: two competing opera companies: Handel’s company & Opera of Nobility: eventually the two companies went nearly bankrupt; the Opera of Nobility folded

24. HANDEL CONTINUED 1739: Handel started to write Oratorios 1739: Handel started to write Oratorios 1741: Wrote Messiah for performance in Dublin, Ireland 1741: Wrote Messiah for performance in Dublin, IrelandMessiah Texts were drawn from Old and New Testament Texts were drawn from Old and New Testament In three parts: Advent (birth of Christ), Passion (Resurrection), and Book of Revelation In three parts: Advent (birth of Christ), Passion (Resurrection), and Book of Revelation Wrote suites and sonatas for keyboard Wrote suites and sonatas for keyboard Had instrumental works include Water Music and Music for the Royal Fireworks; many orchestral works Had instrumental works include Water Music and Music for the Royal Fireworks; many orchestral works Wrote operas Wrote operas Wrote secco (basso continuo and melodies) and accompanied recitatives (more instruments) Wrote secco (basso continuo and melodies) and accompanied recitatives (more instruments) Also wrote a few instrumental symphonies and ballets Also wrote a few instrumental symphonies and ballets

25. ORCHESTRA INSTRUMENTS Harpsichord Organ

26. OPTIONAL INSTRUMENTS Timpani Oboe Recorder Bassoon Flute Trumpet