1. The Enjoyment of Music 11th, Shorter Edition THE BAROQUE ERA UNIT 2

2. The Enjoyment of Music 11th, Shorter Edition PRELUDE 3: THE BAROQUE SPIRIT THE CULTURE OF THE BAROQUE ERA

3. PRELUDE 3: THE BAROQUE SPIRIT THE BAROQUE ERA (1600–1750) Baroque – a decorative, ornamented style in arts, very elaborate, filled with detail, sense of drama. The Enjoyment of Music 11th, Shorter Edition

4. PRELUDE 3: THE BAROQUE SPIRIT THE BAROQUE ERA (1600–1750) Religious wars (Protestants vs. Catholics) Settlement/colonization of the New World Era of “absolute monarchies” (ie: Louis XIV) Rise of middle-class Music in the home, city, and universities, beginning of civic (public) supported arts The Enjoyment of Music 11th, Shorter Edition

6. PRELUDE 3: THE BAROQUE SPIRIT THE ARTS The Enjoyment of Music 11th, Shorter Edition Painting – vivid colors, crowd scenes (El Greco, Rubens) everyday life, intimate portrait (Rembrandt, Vermeer) Young Woman at a Virgina, Jan VermeerView of Toledo, El Greco

7. PRELUDE 3: THE BAROQUE SPIRIT THE ARTS The Enjoyment of Music 11th, Shorter Edition Architecture – grandiose, large scale (royal palaces, cathedrals, public theatres, homes) Teatro Argentina by PanniniThe grand staircase of the Residenz

8. PRELUDE 3: THE BAROQUE SPIRIT MAIN CURRENTS IN MUSIC Development of public theatres (ie: Venice) Opera - favored entertainment Rise of Instrumental Music Improvisation common Rise of Virtuoso musician Women as professional singers (ie: Barbara Strozzi) Collegium Musicum (university ensembles) Doctrine of Affections – union of text & music, one mood for an entire movement or piece The Enjoyment of Music 11th, Shorter Edition

10. BAROQUE MUSICAL STYLE “Monody” – (early Baroque) solo song with instrument accompaniment Late Baroque – polyphonic texture Melody - continuous flow, disjunct, wide range Rhythm - strong and vigorous (late) Dynamics – composers indicated dynamics dramatic forte/piano contrasts (see Ch. 7 for terms) The Enjoyment of Music 11th, Shorter Edition

11. BAROQUE MUSICAL STYLE The Baroque Orchestra Composers indicated instruments Strings and “basso continuo” standard Other instruments – for special occasions flute, oboe, bassoon; trumpet, horn; timpani Basso Continuo – 2 parts organ or harpsichord - chords (accompaniment) cello or bassoon - bass part The Enjoyment of Music 11th, Shorter Edition

12. BAROQUE MUSICAL STYLE The Enjoyment of Music 11th, Shorter Edition

13. BAROQUE MUSICAL STYLE New Harmonic Structure Chromatic scale – use of all 12 pitches within an octave Tonality - organization of pitches into scales, melodies, and harmony based on one pitch called the “tonic” or “keynote” Two types of tonality - major scale (or major key) and minor scale (or minor key); each has 7 notes Built on 12 different pitches or keynotes; there are 24 total major and minor keys (one major, one minor for each note) The Enjoyment of Music 11th, Shorter Edition

14. THE BAROQUE OPERA & ITS COMPONENTS CHAPTER 16

15. The Enjoyment of Music 11th, Shorter Edition 16. Baroque Opera Large-scale musical drama combining poetry, acting, scenery, costumes, singing, instrumental music Founded in Florence, Italy Monteverdi – first great opera composer Meredith Hall as Poppea in the opera The Coronation of Poppea

16. The Enjoyment of Music 11th, Shorter Edition 16. Baroque Opera Early – stories based on Greek/Roman mythology and ancient history – called “Opera Seria” “Aria” – lyric solo song with orchestra accompaniment, dramatic, emotional, “Recitative” – speechlike vocal style, little or no accompaniment Other vocal – choruses, love duet Intrumental – “Overture” – begins the production – 2 styles French: slow/fast (AB), Italian: fast/slow/fast (ABA) “Sinfonia” – between acts or scenes “Libretto” – text or script of story, by the “librettist”

17. 16. BAROQUE OPERA – HENRYPURCELL English composer (London) Employed by English royal court and organist at Westminster Abbey. Composed dramatic works, sacred & secular vocal music, and instrumental music The Enjoyment of Music 11th, Shorter Edition

18. 16. BAROQUE ENGLISH OPERA – DIDO AND AENEAS BASED ON VIRGIL’S AENEID Written for Girls’ boarding school English language Aeneas – Roman king of ancient Troy Dido – Queen of Carthage (north Africa) The Enjoyment of Music 11th, Shorter Edition The Death of Dido, Giovanni Barbieri Dido’s Lament uses “ground bass”, a repeated bass pattern)

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20. Dido's Lament

21. The Enjoyment of Music 11th, Shorter Edition THE BAROQUE CANTATA & ORATORIO CHAPTER 17

22. 17. THE BAROQUE CANTATA JOHANN SEBASTIAN BACH German, virtuoso organist, improviser, educator Culminating figure of the Baroque style (masterpieces in all genres except opera) Musical family Devout Lutheran Secular (royal court) positions Duke of Weimer (organist) Court of Cothen (orchestra conductor) The Enjoyment of Music 11th, Shorter Edition

23. 17. THE BAROQUE CANTATA JOHANN SEBASTIAN BACH Sacred – St. Thomas’s Church in Leipzig Final and most important position Also included a University collegium musicum The Enjoyment of Music 11th, Shorter Edition An evening outdoor concert in 1744 by the collegium musicum of Jena, Germany An 18th-century engraving of Leipzig’s St. Thomas’s Church and choir school where Bach worked from 1723 until he died, in 1750.

24. JOHANN SEBASTIAN BACH COMPOSITIONS The Enjoyment of Music 11th, Shorter Edition Keyboard music Organ & harpsichord works Well-Tempered Clavier - 24 preludes & fugues (one for each Major and Minor key) (2 sets) Art of the Fugue - Orchestral – suites, concertos, sonatas Brandenburg Concertos – 6 concerto grossi Choral (with orchestra) over 200 cantatas Mass in B minor Master of polyphonic style, counterpoint

25. 17. THE BAROQUE CANTATA Cantata from the Italian cantare (“to sing”) 5 to 8 movements for soloists, chorus, & orchestra(include recitatives, arias, and choral pieces) Secular – based on lyric, dramatic, or poetic text Sacred – Bach Church Cantatas (Lutheran) based on a Chorale (hymn) used in a church service some include an Organ Prelude The Enjoyment of Music 11th, Shorter Edition Bach, Cantata No. 150, Wachet auf (Sleepers, Awake)

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27. Unison Chorale Worship Service

28. 17. THE BAROQUE ORATORIO GEORGE FRIDERIC HANDEL German-born, organist & violin Studied and composed in Italy Employer - Elector of Hanover (became King George of England) founded Royal Academy of Music Internationally famous, long career in London Works – Italian style opera, English oratorio, suites The Enjoyment of Music 11th, Shorter Edition

29. 17. THE BAROQUE ORATORIO HANDEL AND THE ORATORIO Large scale dramatic genre, concert performance - no scenery, acting, or costumes Based on religious story Performed by solo voices, chorus, orchestra Chorus sections emphasized. May begin with an overture (French or Italian) Opera vs Oratorio The Enjoyment of Music 11th, Shorter Edition Performance of Handel’s Messiah

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32. BAROQUE INSTRUMENTS & THE SUITE CHAPTER 18

33. 18. BAROQUE INSTRUMENTS AND THE SUITE: THE BAROQUE SUITE Collection of dance-inspired movements, each in a different style (tempo, rhythm) For keyboard, small group, or orchestra Most movement in Binary (AABB) or Ternary (ABA) May begin with an overture – (French or Italian) The Enjoyment of Music 11th, Shorter Edition

34. 18. BAROQUE SUITE HANDEL, WATER MUSIC The Enjoyment of Music 11th, Shorter Edition Written for Royal party on the Thames River in London Large orchestra (50+), uses brass, woodwinds, and timpani with no “continuo” Second movement - ‘Alla Hornpipe’ in ternary form (ABA) Divided into three suites

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36. 18. BAROQUE SUITE MUSIC AT THE FRENCH ROYAL COURT Jean-Joseph Mouret From southern France Employed by royal court in Paris, Academie Royale, and the Paris Opera. Composed dramatic stage works, vocal music, and instrumental suites The Enjoyment of Music 11th, Shorter Edition Chambord, a French castle in the Loire valley

37. MOURET: RONDEAU, FROM SUITE DE SYMPHONIES Written for a full Baroque orchestra including brass, woodwind, timpani and continue Familiar fanfare opening used as theme music for Masterpiece Theatre (PBS) Five-part rondo form (A-B-A-C-A) The A section serves as a “ritornello” (returning refrain between contrasting sections) The Enjoyment of Music 11th, Shorter Edition A French court dancer.

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39. THE BAROQUE CONCERTO CHAPTER 19

40. 19. THE BAROQUE CONCERTO ANTONIO VIVALDI AND THE SOLO CONCERTO Venice, Italy, virtuoso violinist “The red priest” Employed - Conservatorio del’Ospedale della Pietà (school for orphaned girls) Music – concertos, vocal music - opera, oratorios, and sacred music The Enjoyment of Music 11th, Shorter Edition “ Above all, he was possessed by music.” —Marc Pincherle

41. 19. THE BAROQUE CONCERTO From Latin concertare (“to contend with”) 2 types – ‘solo concerto’ – for solo instrument and orchestra (ie: Vivaldi Spring) ‘concerto grosso’ – for a group of solo instruments and orchestra (ie: Bach, Brandenburg Concertos) Contrast between the solo sections and orchestra. Orchestra melody = the “ritornello” 3 movements – (1) fast, (2) slow, (3) fast First movement in “ritornello” form The Enjoyment of Music 11th, Shorter Edition

42. VIVALDI: SPRING (LA PRIMAVERA) FROM THE FOUR SEASONS Spring from a set of four violin concertos Program Music – based on a poem (text painting) Uses a string orchestra & continuo First movement in “ritornello” form Opening ritornello example of forte/piano contrast Depicts images of birds, murmuring brooks, thunder and lightning from the poem. The Enjoyment of Music 11th, Shorter Edition

45. 20. OTHER BAROQUE INSTRUMENTAL MUSIC KEYBOARD INSTRUMENTS AND FORMS Organ, Harpsichord Two important forms - 1. Prelude (ie: Bach Well-Tempered Clavier or Chorale Prelude (ie: Bach, Cantata organ preludes) 2. Fugue (ie: Bach) The Enjoyment of Music 11th, Shorter Edition harpsichord

46. The Enjoyment of Music 11th, Shorter Edition OTHER BAROQUE INSTRUMENTAL MUSIC CHAPTER 20

47. 20. KEYBOARD INSTRUMENTS The Enjoyment of Music 11th, Shorter Edition This two-manual harpsichord was built by the Flemish maker Jan Couchet (c. 1650). A spectacular Baroque organ (1738) in St. Bavo’s Cathedral, Haarlem, The Netherlands.

48. 20. OTHER BAROQUE INSTRUMENTAL MUSIC THE FUGUE The Enjoyment of Music 11th, Shorter Edition Contrapuntal, based on imitation (polyphonic) Based on a theme called the “Subject”, imitation of the theme is called the “Answer” opening section called the “Expostion” alternates between sections with the Subject and freely composed sections called “Episodes” May be performed by keyboard, and vocal or instrument groups (subject entries referred to as voices = range)

49. 20. MUSICAL DEVICES IN A FUGUE The Enjoyment of Music 11th, Shorter Edition

50. 20. ANATOMY OF A FUGUE The Enjoyment of Music 11th, Shorter Edition

52. MUSICAL EXAMPLES The Enjoyment of Music 11th, Shorter Edition Example 1 – What am I?What am I? Example 2 - What am I?What am I? Example 3 - What am I?What am I? Example 4 -