1. The Baroque Era 1600-1750

2. Baroque Culture Definitions Portuguese for “irregularly- shaped” pearl Geographical Centers EnglandFranceGermany

3. The Times Science –Sir Isaac Newton (1642-1727) Laws of gravity Calculus Sir Isaac Newton

4. Johannes Kepler (1571-1630) Movement of the planets Foundation of astronomy Galileo Galilei (1564-1642) Johannes Kepler Galileo Galilei

5. René Descartes (1596-1650) –Analytical geometry –Applied scientific principles to philosophy –Applied methods of mathematics to the study of what humans think and feel –Believed that human emotions could be classified in the same way scientific phenomena are classified (Doctrine of Affections) René Descartes

6. William Gilbert (1544-1603) Properties of electricity Sir William Harvey (1578-1657) Circulation of the blood Robert Boyle (1627-1691) Chemistry

7. Inventions

8. Politics – Age of Absolute Monarchs Charles II of England Frederick II of Prussia Louis XIV of France Phillip IV of Spain

9. Religion –Roman Catholic –Protestant –New Religions Deism –Influenced by the advances in scientific knowledge –Operated on reason alone without supernatural manifestations –Ethan Allen, Thomas Payne, Thomas Jefferson, Benjamin Franklin, John Adams, James Madison

10. Everyday life in the Baroque – Institutions with power Court Church – Aristocratic Life – Middle and Lower Class Life

11. Visual Arts Architecture –In the Renaissance: simple, straight lines and detail Bramante – St. Peter’s CathedralBrunelleschi – Florence Cathedral

12. –In the Baroque: ornate, extravagant, showy St. Peter’s Basilica, Vatican Palace of Versailles, Paris

13. Painting –Emotionally charged –Dramatic subjects –Contrast; play between light and shadow

14. Peter Paul Rubens (1577-1640) Self-Portrait Assumption of the Virgin

15. Rembrandt van Rijn (1606-1669) Self-Portrait The Night Watch

16. Sculpture –Strong light and dark contrasts –Dramatic tension –Subjects are never still but moving, struggling, twisted Gian Lorenzo Bernini Self-Portrait Apollo and DaphneLouis XIVEcstasy of St. Theresa

17. Age of Paradox/Contrasts Church ↔ State Monarchy ↔ Bourgeoisie Aristocracy ↔ Affluent Middle Class Importance of Religions ↔ Rise of Secular Scientific Research ↔ Superstition, Witchcraft Importance of humanity ↔ Religious Persecution

18. Music’s Response to Paradox/Contrast Vocal ↔ Instrumental 8 Church Modes ↔ Tonality (Major, minor) Sacred Music ↔ Secular Music Polyphonic Texture ↔ Homophonic Texture

19. The Composer’s Life Patronage System Church ↔ Court Deterioration of the Patronage System Other Music Achievements: –Audience of the common people –Development of music for its own sake

20. Music of the Baroque Doctrine of Affections Elements of Music –Melody Long, instrumental in conception Use of sequences Monothematic Use of ornamentation

21. –Harmony Tonal Use of Major and minor scales –Rhythm Metric Motoric –Texture Homophony and Polyphony equal in importance (Late Baroque) Thorough Bass or Basso Continuo

23. –Form Binary Ternary Fugue Ritornello –Dynamics Terraced Not written into the score –Timbre Vocal Instrumental

24. Keyboard Instruments Pipe Organ Painted Organ Pipes Harpsichord

25. String Instruments Viol Family Lute Stradivarius Violins Guarnerius Violin Composite of String Instruments

26. Woodwind Instruments Recorder Family Wood Flute Early Clarinets Oboe da Caccia

27. Brass Instruments Long Trumpet Trombones

28. Percussion Instruments Kettledrums

29. Vocal Genres Opera –Began as court entertainments in Italy –Includes a story (libretto), solo singing, choral singing, dancing, costumes and sets –Forms: recitative, aria, chorus Claudio Monteverdi (1567-1643) Orfeo, 1607 Tu se’ morta

31. Cantata –Short, unstaged operas (secular and sacred) –Used operatic forms (recitative, aria, chorus) –Sacred cantatas often based on a chorale Johann Sebastian Bach (1685-1750) Cantata 140: Wachet Auf, 1731 Awake, A Voice is Calling Us First Movement: Chorus and Orchestra Fourth Movement: Tenor Chorale

32. Wachet Auf

36. Oratorio –A sacred, large-scale opera –Always based on a biblical story –No staging or constuming –Larger role for the chorus –Uses opera forms (recitative, aria, chorus) George Frideric Handel (1685-1759) Messiah, 1741 Recitative: The Voice of Him Aria: Every Valley Shall Be Exalted Chorus: Hallelujah

40. “Hallelujah Chorus” from Messiah (1741) Perhaps one of the world’s most famous choral pieces Text is from the Revelation of St. John Hallelujah! For the Lord God Omnipotent reigneth The kingdom of this world is become the Kingdom of our Lord and of His Christ And he shall reign for ever and ever King of Kings and Lord of Lords Hallelujah! Combines monophonic, polyphonic and homophonic textures

41. Instrumental Genres Dance Suite –Originally a series of dances played for dancing –By the Baroque, suites became independent instrumental pieces no longer intended for dancing –Usually contained four dances –Often unified by key –Differed by tempo and international background –Used binary form J.S. Bach Suite No. 3 in D Major, 1729-1731 Air Bourée Gigue

42. Sonata –Originally a “sound piece” for one instrument –Became a chamber music genre in the Baroque (from 2 to 6 players) –Four movements: fast, fast, slow, fast –Trio sonatas were popular Arcangelo Corelli (1653-1713) Trio Sonata in A Minor, Op. 3, No. 10 (1689) First Movement

43. Concerto Grosso –“friendly contention” –Contrasts a larger ensemble (ripieno or tutti) with a solo group (concertino) –Three movements: fast, slow, fast –Often uses ritornello form Antonio Vivaldi (1678-1741) Spring Concerto The Four Seasons, 1725 First Movement: Allegro Spring has come, and joyfully, The birds greet it with happy song. And the streams, fanned by gentle breezes, Flow along with a sweet murmur. Covering the sky with a black cloak, Thunder and lightning come to announce the season. When these have quieted down, the little birds Return to their enchanting song.

44. Ritornello Form

45. Vivaldi - Spring Concerto, Allegro

46. Keyboard Music –Organ and harpsichord –Often paired a “free” piece with a contrapuntal fugue [Prelude and Fugue] –Toccata: added elements of virtuosic “touch” keyboard technique J.S. Bach The Well-Tempered Clavier, Book 1, 1722 Prelude and Fugue in c minor

47. J.S. Bach – Fugue in g minor, BWV 578

48. Composers Johann Sebastian Bach George Frideric Handel Antonio Vivaldi Henry Purcell Barbara Strozzi (1619-1677) Elizabeth-Claude Jacquet de la Guerre (1667-1729)