The Baroque Spirit1600-1750Baroque derived from Portuguese

“barroco” – pearl of irregular shapePeriod of change and adventureRise of the Middle Class – Wealth, PowerEvolution of pomp and splendor of Art,

elaborative decoration and grandeurAbsolute Monarchy – GovernmentCourts employed opera troupes, chapel

choirs and orchestrasOperas were a favorite

The Baroque SpiritMiddle Class – music at home,

the church and at the university.Rise of the “Collegium Musicum”Religion – profound interest

among people. Protestants and Catholics

dominated.

Monody Monody: new style featuring solo song with

instrumental accompaniment Monody was promoted by the Florentine Camerata:

Group of writers and musicians who sought to resurrect musical-dramatic art of ancient Greece

Stile Rappresentivo – Representative Style http://

dictionary.onmusic.org/terms/3353-stile_rappresentativo

Music job is to heighten the meaning of the text Music written in this way consisted of melody

that moved freely over a foundation of chords Monody focused on text and its emotional

power

New Harmonic StructuresBasic harmonies were understood and not

fully notated◦ Figured bass: shorthand notation for harmony

Chords created through improvisation◦ Basso continuo: bass part, performed by 2

instruments Chordal instrument (lute, keyboard, etc.) and bass

instrumentMajor-minor tonality system is established

◦ Equal temperament: a tuning system that allows instruments to play in all keys is developed

◦ J. S. Bach's The Well-Tempered Clavier (2 vols.), each containing 24 preludes and fugues, demonstrates the 12 major and minor keys

HTTP://WWW.YOUTUBE.COM/WATCH?V=EPDIC5HLB-U&SAFETY_MODE=TRUE&PERSIST_SAFETY_MODE=1&SAFE=ACTIVE

Figured Bass Example

ElementsRenaissance Baroque Harmony * Triadic, based on Medieval * Triadic, based on major/minor tonality

modes * Consonance prominent * Dissonance a fundamental part of

chords Sound * Equal voices * Basso continuo accompaniment * Like instruments (consorts) * Wide variety of instrumental

colors * Voices or instruments alone * Free mix of voices and

instruments * Instrumentation up to perf. * Instrumentation defined by

composer * Single dynamic level * Dynamic contrasts (terraced)

Elements Renaissance Baroque Melody * Simple melodies * Ornate melodies * Mostly stepwise * Dramatic leaps common Rhythm * Consistent rhythms * Wider variety of

rhythms * Slow underlying pulse * Faster, more regular

pulse * Consistent tempos * Varied tempos

between movements * Often based on text * Often based on

dance rhythms

ElementsRenaissance Baroque Texture * Imitative or homophonic *

Polyphonic/Homophonic Form

* Based on text * New abstract forms or dance forms

(Binary and Ternary) based on repetition

The Rise of the Virtuoso MusicianInstrument builders improved and refined

instrumentsComposers challenged the performers with

music that was demanding◦ Domenico Scarlatti◦ Antonio Vivaldi

Rise of virtuosity was both instrumental and vocal◦ Castrato: a male singer who was castrated in

boyhood to retain soprano or alto vocal range◦ Countertenor or falsettist: "natural" high male voice

Performers improvised beyond what was written in the music score

Baroque OperaThe most important new genre of the

Baroque era was opera, a large-scale music drama that combines poetry, acting, scenery, and costumes with singing and instrumental music.

The principal components of opera include the orchestral overture, solo arias (lyrical songs) and recitatives (speechlike declamations of the text), and ensemble numbers, including choruses. The librettist writes the text of the opera.

Baroque Opera ComposersThe early Baroque master Claudio Monteverdi

wrote the operas Orfeo, based on mythology, and The Coronation of Poppea, based on Roman history. Monteverdi helped establish the love duet as a central component of opera.

The English composer Henry Purcell wrote Dido and Aeneas, based on The Aeneid, a Roman epic by Virgil.

George Frideric Handel is known for his opera seria (serious Italian opera), dramatic works that treat heroic or tragic subjects.

Monteverdi – Opera FeaturesStile concitato (agitated style) expressed

hidden tremors of the soul◦tremolo, pizzicato

“The text should be the master of the music…not the servant”

Use of dissonance and instrumental color to create drama, expressiveness, atmosphere and suspense

Combined with polyphonic writing, Monteverdi melded these elements into an expressive art form rooted in human emotions.

Coronation of Poppea 1664 – Late work from Venetian PeriodOut of the palace to the opera houseCast – emperors to common folk (appeal) to the

masses) Imitative declamatory duetSinfonia – Instrumental piece (transition)A B B A FormGround Bass – four note repeated bass lineExtensive use of Word Painting

◦ Melissmas on Pur t’annodo (I enchain you)◦ Dissonances on peno (grieving), moro (sorrow)◦ https://

www.youtube.com/watch?v=ddZNuKR9O8s&safe=active

Dido and Aeneas – Henry PurcellPurcell - 1659-1695Tragedy - a dramatic composition, often in verse,

dealing with a serious or somber theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, as fate or society, to downfall or destruction.

Lament – A Tragic opera aria placed before the climax of the plot

Orchestra - first violins, second violins, violas and cellos) and a harpsichord

Key Structure - Purcell used major keys to evoke happiness and minor keys to evoke sadness.

Extensive use of dance, word painting, ground bass and dissonance.

The AeneidThe text, and the Purcell opera are alluding to

the Roman legend of the Aeneid, the story of a Trojan Warrior Aeneas, seeking Italy in order to settle there and secure his son's lineage. Aeneas is blown off course from Sicily, and lands on the shores of Northern Africa, in Carthage, a recently settled city of former Tyrians. Their queen is Dido, with whom Aeneas has a love affair, before departing for Italy and leaving Dido alone. She becomes so distraught that she orders for a large pyre to be placed, on which she plans to impale herself, and be set ablaze so that Aeneas will see from his ship.

Thy Hand Belinda & Dido’s Lament Purcell - Analysis The opening recitative secco, "Thy hand,

Belinda", is accompanied by continuo only.  Word painting is applied on the text "darkness" and "death" which is presented with chromaticism, symbolic of death.

"Dido's Lament" opens with a descending chromatic line, the ground bass, which is repeated eleven times throughout the aria. The meter is 3/2 in the key of G minor. Henry Purcell has applied word painting on the words "laid", which is also given a descending chromatic line portraying death and agony, and "Remember me", which is presented in a syllabic text setting and repeated with its last presentation leaping in register with a sudden crescendo displaying her desperate cry with urgency as she prepares for her fate: death. In one interpretation Dido's relationship with Aeneas is portrayed in this moment as an "apocalyptic romance.”

Text – Thy Hand Belinda & Dido’s Lament

RecitativeThy hand, Belinda, darkness shades me,

On thy bosom let me rest, More I would, but Death invades me; Death is now a welcome guest.

AriaWhen I am laid, am laid in earth, May my

wrongs create. No trouble, no trouble in thy breast; Remember me, remember me, but ah! forget my fate. Remember me, but ah! forget my fate.

George Frederic Handel1685–1750

Born in GermanyStudied and composed in ItalySuccess brought him to London Royal

Academy of MusicProlific composer of Italian opera seria

◦Julius CaesarAfter opera seria fell out of vogue,

composed oratorios◦Israel in Egypt, Messiah, Judas

Maccabaeus, Jephtha

Handel's MusicTended toward diatonic

harmoniesTone color used for atmosphere

and expressionWrote more than 40 operasExpanded the role of the chorus

◦Prolific composer of instrumental music

◦Orchestral suites Water Music Music for the Royal Fireworks

Messiah - BackgroundMessiah – SaviourSon of God (Christian, Islam)Christians believe the “Messiah”

prophecies were fulfilled in the mission, death, and resurrection of Jesus and that Jesus will return to fulfill the rest of “Messiah” prophecy.

Messiah - OratorioThe oratorio is a large-scale dramatic genre with a

religious or biblical text performed by solo voices, chorus, and orchestra; it is not staged or costumed.

George Frederic Handel was known for his Italian operas and, later in life, his English-texted oratorios (including Messiah).

Messiah is an oratorio in three parts: it opens with a French overture and features recitatives (secco (syllabic)and accompagnato (melissmatic), lyrical arias, and majestic choruses, including the famous "Hallelujah Chorus."

The text for Messiah is drawn from a compilation of Old and New Testament verses.

Handel: Messiah  Premiered in Dublin in 1742 Libretto: compilation of Old and New Testament Small orchestra size 9violins, 3 violas, 4 celli, 3 dbass,

2 trumpets, 2 oboes, timpani, basso continuo (harpsichord, organ, cello, db, bassoon)

In three parts:◦ I: Christmas

Overture in two sections (based on French overture slow then fast): A: slow introduction, tempo is grave (slow, solemn, with dotted rhythms) B: Allegro in imitative style, returns to grave

Recitative: both secco and accompagnato Chorus selections contrasts homophony and counterpoint Soprano aria "Rejoice greatly" (da capo aria “to the top”)

◦ II: Easter "Hallelujah Chorus" remains a popular piece Built on contrasting textures: homophony/imitation

◦ III: Redemption of the world through faith

Messiah Factstext compiled by Charles Jessen from the King

James Biblestructure resembles that of conventional opera,

it is not in dramatic form; there are no impersonations of characters and very little direct speech.

a commentary on Jesus Christ‘s Nativity, Passion, Resurrection and Ascension", beginning with God's promises as spoken by the prophets and ending with Christ's glorification in heaven

the singers in Messiah do not assume dramatic roles

Messiah StoryPart I, the Messiah's coming and the Virgin

Mary are predicted by the Old Testament prophets.

Part II covers Christ’s Passion and his death, his Resurrection and Ascension, the first spreading of the Gospel through the world, and a definitive statement of God's glory summarized in the "Hallelujah“

Part III begins with the promise of Redemption, followed by a prediction of the Day of Judgment and the "general Resurrection", ending with the final victory over sin and death and the acclamation of Chris

Sacred CantataIntegral part of the Lutheran Church ServiceBach composed 60 cantatas representing

each Sunday plus holidays and special occasions

5 or 6 cycles leading to over 200 such worksCantata featured Recitatives, Aria, Duet and

ChorusOne or more solo vocalists Instrumental accompanimentSacred themeUnified by a chorale

The Lutheran Chorale Chorale: hymn tune associated with

German Protestantism◦Battle hymns of the Reformation

Martin Luther inaugurated church services in German rather than in Latin

Early hymns were sung in unisonLater hymns were written in 4-part

harmony, with melody in the sopranoChorales are a unifying thread of the

Protestant cantatas

Martin Luther - Chorale“I wish to make German psalms for the people,

that is to say sacred hymns, so that the word of God may dwell among the people also by means of song.“

German monk, priest, professor of theology and important figure of the Protestant Reformation

His translation of the Bible into the vernacular (instead of Latin) made it more accessible, causing a tremendous impact on the church and on German culture

Luther was a prolific hymn-writer, authoring hymns such as Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God)

The Rise of Instrumental Music◦Instrumental music gained position of

importance in the Baroque◦Virtuosos raised the technique of

playing to new heights ◦Early-Baroque composers did not

specify instrumentation ◦Early-Baroque composers still thought

in terms of line rather than instrument colour.

◦Late-Baroque composers chose instruments according to timbre

Baroque Instruments◦ Instrument designs were improved◦ Finest violins in history came from shops of:

Stradivarius Guarneri Amati

◦ Baroque violin strings made of gut (today's are of steel) ◦ Woodwinds were all made of wood ◦ Trumpet moves from purely military use to orchestral member ◦ Horns and trumpets were valveless, called "natural" instruments

Could play in only one key at a time (Natural Horn Youtube)◦ Timpani occasionally added to the orchestra◦ Baroque keyboard instruments

Organ: used at church and home Harpsichord: strings are plucked by quills, cannot sustain tones Clavichord: metal levers exert pressure on strings (Baroque Keyboard

History YT.)◦ Authentic modern performances

Modern recordings reflect an attempt towards authenticity with the use of historically accurate instruments

Sonata Types◦The sonata was the most popular form of

chamber music◦Early sonatas: one sectional movement or

several contrasting movements Sonata da camera: chamber sonata

Typically a group of stylized dances Sonata da chiesa: church sonata, more serious and

contrapuntal, Four movements: tempo sequence slow-fast-slow-

fast Written for 1–8 instruments Favored combination: two violins and continuo

Trio sonata Music printed on three staves of music, actually performed

by four players (continuo requires two players) Solo sonata, for keyboard and solo string instrument

Baroque Concerto◦Form reflects the basic elements of Baroque:

contrast and unity ◦Concerto: from the Latin concertare ("to

contend with") Instrumental form based on the opposition of

different forces◦Two types of concerto

Solo concerto: one instrument set against the orchestra

Concerto grosso: small group of soloists set against orchestra Concertino: small group in the concerto grosso Ripieno, or tutti: large group in the concerto grosso Bach wrote 6 Brandenburg Concertos in this form

Each is a concerto grosso Each has different solo instruments

Antonio Vivaldi (1678–1741)◦ Catholic Priest in Venice, "the red priest" (reference to

hair color) ◦ Music master at the Conservatorio del'Ospedale della

Pietà School for orphaned girls Girls studied stringed, woodwind (oboe, bassoon, flute) and

keyboard instruments and were capable of playing at a high level.

Much of Vivialdi’s output dedicated to them – exceptionally virtuosic in nature

◦ Prolific composer: More than 500 concertos Chamber music Operas Cantatas 1 Oratorio Extended setting of the Gloria

Vivaldi: The Four Seasons (Le quattro stagioni)

◦Group of four violin concertos◦Each concerto accompanied by a poem◦Music depicts specific lines of the poem◦Spring (La primavera)

Solo violin with string orchestra and continuo Three movements:

I: Evokes bird song, murmuring streams, thunder, lightning Orchestral ritornello: a refrain returns again and again Ritornello form: alternating new material and refrain

II: Largo in triple meter Evokes an image from poem describing a sleeping

goatherd Ostinato dog bark is heard in violas

III: Rustic Dance, evokes drone of bagpipes

J. S. Bach's Music◦ Personal philosophy: music must serve "the glory of God“, Virtuoso

organist◦ Key output: organ music

Little Organ Book: includes chorale preludes Chorale prelude: based on embellished chorale tune

◦ Keyboard music The Well-Tempered Clavier

48 preludes and fugues, in two volumes◦ Instrumental music

Sonatas and concertos The Brandenburg Concertos Orchestral suites

◦ Sacred Vocal Music 200-plus church cantatas Passion: setting of account of the Crucifixion Mass in B minor

◦ Contrapuntal masterworks Musical Offering The Art of Fugue

 Bach: Cantata No. 80 A Mighty Fortress Is Our God  Set to Martin Luther's chorale of the same name I: Opens with choral movement in D major

◦ Each line receives fugal treatment◦ Fugue: polyphonic composition based on imitation◦ Each phrase is an embellishment of the chorale◦ Trumpets and drums added by son Wilhelm Friedemann

after Bach's death II: Depicts Christ's struggle with evil

◦ Duet for soprano and bass soloists◦ Soprano melody is variation of chorale◦ Middle movements: freely composed recitatives and arias

VIII: Chorale sung in D major by full chorus with orchestral accompaniment◦ Homophonic texture

Bach’s Choral StyleLyricism found in Bach’s Arias,

elaborate movements with ornate vocal lines

Expressive instrumental accompaniment combined with vocal lines to create intricate polyphonic texture

Fugue