1. ‘Tis the Season(s): Instrumental Music of the Baroque and Stories without Words

2. Classical Music Concert

5. #1: Instrumental music secondary, peripheral until 17 th century #2: Cutting music free of dependence on words has far-reaching implications

6. I.The Baroque Sonata A. Sonata Defined 1. Early Baroque (1600-1650) 2. Mid- and Late Baroque (ca. 1650 - ) B. Types of Sonata 1.Functions Sonata da chiesa (church sonata) 2.Performing Forces Solo Sonata Trio Sonata Sonata da camera (chamber sonata) sonata or canzona=any instrumental composition chamber music for 1-2 soloists + b.c. Stylized dances: Allemande, Courante, Sarabande, Gigue usually in binary form: ||: a :||: b :|| Non dance: often Slow/Fast/Slow/Fast Early sonata tied to vocal models

8. I.The Baroque Sonata A. Sonata Defined 1. Early Baroque (1600-1650) 2. Mid- and Late Baroque (ca. 1650 - ) B. Types of Sonata 1.Functions Sonata da chiesa (church sonata) 2.Performing Forces Solo Sonata Trio Sonata Sonata da camera (chamber sonata) sonata or canzona=any instrumental composition chamber music for 1-2 soloists + b.c. Stylized dances: Allemande, Courante, Sarabande, Gigue usually in binary form: ||: a :||: b :|| Non dance: often Slow/Fast/Slow/Fast Early sonata tied to vocal models

9. C. First Major Composer of Sonatas: Arcangelo Corelli 1. Use of modern functional harmony: 2. Extensive use of sequences:

10. II. The Baroque Concerto A. Origins (mid-Baroque) B.Concerto also based on: Contrast of Performing Forces concertato style: (soloist(s) = concertino Basso continuo Rip. Concertino Rip. Concertino vs. ripieno (or tutti) based on contrast of performing forces

11. II. The Baroque Concerto A. Origins B. Performing Forces D. The Contrast Principle C. Two Types of Baroque Concerto concertato style based on contrasts btw. performing forces Concertino (solo) vs. ripieno (or tutti) Solo Concerto Concerto grosso

14. II. The Baroque Concerto A. Origins B. Performing Forces D. The Contrast Principle C. Two Types of Baroque Concerto E. Composers

15. Antonio Vivaldi The Four Seasons, “Spring,” 1st Movement

16. II. The Baroque Concerto A. Origins B. Performing Forces D. The Contrast Principle F. Form of the Baroque Concerto C. Two Types of Baroque Concerto 1. Three Movements: Fast/Slow/Fast 2. Outer movements in Ritornello Form E. Composers

17. Ritornello Form: Ritornello= Main Theme Played by Ripieno (full ensemble) Ritornello returns at end Abbreviated Returns Of rit. Episodes (Solo Episodes)

18. Ritornello Form: Ritornello= Main Theme Played by Ripieno (full ensemble) Ritornello returns at end Rip. Concertino Rip. Concertino

19. Ritornello Form: 2. Contrast of Themes: Ritornello Theme vs. Solo Melodies 1. Contrast of Performing Forces (Ripieno vs. Concertino) Double Contrast

20. III. Antonio Vivaldi’s Spring Concerto (1st Mvmt) Ritornello = AABB 3 1=2 4=3 inverted 3=1 reversed 4=5 6=4 fragmented

21. III. Antonio Vivaldi’s Spring Concerto (1st Mvmt) The Logic of “Wordless” Instrumental Music: Delight in play with patterns, Abstract relationships Quasi-mathematical networks Music “talks” about itself Ritornello = AABB 3

22. The Logic of Words: Words refer to objects/ideas beyond themselves

23. Vivaldi’s “Four Seasons: Weds Abstract, Musical logic to The Referential Logic of Words