1. The Baroque Text book 108-143 Musical tracks 9-13

2. Class 2-4 Class #2: Johann Sebastian Bach Class #3: George Fredrich Handel Class #4: Antonio Vivaldi, etc.

3. Class #2 Johann Sebastian Bach and the Baroque

4. Turbulent change in politics, science, arts Religious wars Exploration of the New World Rise of middle-class culture Music making centered in the home, church, and universities  Collegium musicum 1900180 0 17001600150014001300600700800900100011001200400500 Culture

5. What is “Baroque”? Intense; Complex; Dense; Opulent; Extravagant.

6. The Sistine Chapel

7. St. Peter’s

8. Rubens’ Adoration

9. Main musical ideas from Baroque: Contrapuntal Grandeur Complexity Virtuosity

10. Johann Sebastian Bach, 1685-1750

11. Johann Sebastian Bach (1685–1750) German Composer, Organist, Educator Culminating figure of the Baroque style Career in Northern Germany Musical family Organist and composer Devout Lutheran Secular and church patrons during career

12. Personality 20 children! Only five major appointments. Musical goals and objectives? Work ethic.

13. JS Bach Society Web Sites http://www.jsbach.org/ http://www.baroquemusic.org/bqxjsbach.html

14. Contrapuntal Little Fugue in G minor  Mühlausen  31 years old  Pietist

15. The Fugue and Its Devices Fuga Contrapuntal, based on imitation Subject unifies the work Choral or instrumental Melodic lines are referred to as voices

16. Contrapuntal devices Text book 139  Inversion  Retrograde  Augmentation  Diminution  Combinations

17. Work week Monday Tuesday Wednesday Thursday Friday Saturday Sunday

18. Jail! Kapellmeister in Weimar

19. Well-Tempered Clavier Intended as only instructional pieces; Dedication  “for the use and profit of young musicians”

20. The Well-Tempered Clavier, 1 & 2 New technique!  Equal temperament = tuning Two pieces each in every new 24 Major and Minor keys  24 X 2 = 48 per book Glenn Gould

21. Improvisation  First “stars”  Competition.  William Goldstein master class William Goldstein master class

22. Baroque Musical Rhythm Baroque rhythm  Dance

23. The Rise of the Virtuoso Musician Technical improvements in instrument making Composers challenging the performers

24. The Rise of Virtuosity Vocal  Castrato  Farinelli Farinelli

25. The Doctrine of the Affections Union of text and music One mood, or affection, per movement or piece

26. Women in Baroque Music More professional women were singers and instrumentalists  Francesca Caccini  Barbara Strozzi  Faustina Bordoni  Francesca Cuzzoni  Elisabeth-Claude Jacquet de la Guerre

27. Bach and the Sacred Cantata Sacred cantatas Secular cantatas Sacred cantatas for the Lutheran church Multimovement works

28. The Lutheran Chorale Chorale Battle hymns of the Reformation Early hymns: in unison Later hymns: 4-part harmony, soprano melody Unifying thread of the Protestant cantatas

29. Typical Sunday Services 7 AM  Motet, hymns, organ solo. 8 AM  Cantata and/or Chorale 9 AM  Sermon, at least one hour 10 AM – 12 Noon  Cantata and/or Chorale, Communion

30. Weekday Services Daily Church  6 AM Hospitals Jails Funerals Special events

31. Additional Duties Church Teaching  9 AM – Noon  Latin, singing, composition University collegium musicum !

32. Sacred Vocal Music Over 200 church cantatas Four Passions One Catholic Mass

33. Bach’s Cantatas Typically have 5–8 movements Many movements based on chorale tune Several choral numbers Solos recitatives arias

34. Cantata No. 80, A Mighty Fortress Is Our God, No. 8

35. Cantata No. 80, A Mighty Fortress Is Our God, Nos. 1, 8

36. Bach: Chorale prelude on A Mighty Fortress Is Our God Composed 140-plus organ chorales Organ with three keyboards and a pedal keyboard Based on chorale tune Ein feste Burg ist unser Gott Varied texture

37. Performance Ein Feste Burg A mighty fortress is our God, a bulwark never failing; Our helper He, amid the flood of mortal ills prevailing: For still our ancient foe doth seek to work us woe; His craft and power are great, and, armed with cruel hate, On earth is not his equal.

38. J. S. Bach and the Late Baroque Concerto Cöthen period (1717–23) Instrumental chamber works Margrave Christian of Brandenburg

39. But first…. Why was Bach in Berlin?

40. Brandenburg Concertos 1721, BWV 1046–1051 Three movements each: I: Allegro,  ritornello form, contrapuntal II: Andante,  Slower, quieter, continuous imitation III: Allegro assai,  four-voiced fugue

41. Brandenburg Concerto #1 1 st Movement 1 st Movement 2 nd Movement 2 nd Movement 3 rd Movement 3 rd Movement

42. Concerto? Ritornello? Where did those terms come from?

43. 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

44. Cello Suite #1 Yo-Yo Ma playing the Prelude (MTV-ish) Yo-Yo Ma playing the Prelude Yo-Yo Ma playing the Sarabande

45. The Goldberg Variations, 1741, BWV 988 30 variations Harpsichord  Count Kaiserling  Johann Gottlieb Goldberg You know how I feel about Wikipedia, but….

46. Contrapuntal Master Musical Offering (1747)  'Gentlemen, old Bach is here'. The Art of Fugue

47. Contrapuntal devices Augmentation: longer time values Diminution: shorter time values Retrograde: backwards (starting from the last and going to the first) Inversion: turning the melodic intervals upside down Retrograde inversion: original melody is played upside down and backwards

48. Contrapunctus I, from The Art of Fugue 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