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Baroque

This version was saved 16 years, 5 months ago View current version     Page history
Saved by PBworks
on November 3, 2007 at 10:19:35 am
 
 

 

    1. History
    2. General Characteristics
      1. Performance Media
      2. Instruments:
      3. Rhythm
      4. Melody
      5. Texture
      6. Strucure/Form
    3. Composers
      1. Johann Sebastian Bach
      2. Antonio Vivaldi
      3. George Frideric Handel
      4. Claudio Monteverdi
      5. Johann Joseph Fux
      6. Francesco Germiniani
      7. Giovanni Battista Bononcini
      8. Georg Philipp Telemann
      9. Jean Baptiste Lully

    History

    General Characteristics

    Performance Media

    English HarpsichordbassoonBassooncontrabassoonContrabassoon

     

     

    Instruments:

     by Mike, Arturo and Sidney

    Oboe: The oboe is a part of the woodwind family.  It is played using a double reed and has a nasally sound.  Many pieces use it as a solo instrument.  Its range is about 2 ½ octaves, starting on Bb, which is one whole step down from middle C.

    Bassoon:  The bassoon is apart of the woodwinds.  It is played with a double reed.  It has a range of about 3 ½ octaves, stating at Bb.  It is pitched in C.

    Contrabassoon:  The contrabassoon is an octave lower than the bassoon.  The notation, however, is written an octave above the actual notes played.  It is considered the lowest-pitched instrument of the orchestra.

    Rhythm

    - Sachin and Edd

    • Two Diametrically opposed rhythmic patterns
    • In Vocal Recitatives:  Rhythm is free and dictated by the text itself
    • In Accompaniements: Strong and relentless beat, accented by harmonies and repeated notes
    • Many works are based on one rhythmic pattern
    • Unchanging tempo
     
    ~Two different types of rhythm common of the time were regular and flexible;
    Regular- used for dance music and became more pursuasive

    Types of Dance: 

    •  Jig
    • Carrenta
    • Sarabande-shown in the video below is a slow dance in triple meter with the distictive feature that beats two and three of the measure are often tied, giving a destinctive rythm of quarter and half notes in alteration...note in the video a dragging step on half steps

    YouTube plugin error

    Flexible - Used for Vocal Recitatives and improv solos like toccatas and preludes 

     

    Melody

    by Roxanne and Becky

  1. Melodies are continuous, flowing, and obvious.
  2. Polyphony was still popular, but less complicated than Renaissance.
  3. “Text-painting” is used; the accompanying music evokes and reflects the emotion of the text.
  4. Melismas occur often in baroque music, as a form of ornamentation.
  5. Plenty of ornamentation
  6. Motives are commonly repeated in these pieces, often modified and developed throughout the piece.
  7. Chromaticism was, in a sense developed, with the experimentation with breaking away from Renaissance tradition.
  8. Though previously frowned upon, dissonance became more accepted and welcomed in Baroque music, giving each piece a tonal direction.
  9. Baroque music had a lot of borrowed melodies, in the sense that composers would take a phrase from another piece of music and put it in their own works. 
  10. Counterpoint during this time was now driven by harmony rather than by the various individual melodies.

     

    Texture

    by Katherine and Hanna

    • Polyphonic:
    ~   multiple melodic lines
    ~     soprano and bass lines were most important
    ~     imitation between lines was common
    ~     forms of polyphony – cannons, fugues
    • Homophonic:
    ~     one melodic line
    ~     Early Baroque period
    ~     occurred in Bach and Handel’s pieces

    Basso Continuo

    ~     Melody and bass parts written out with chords improvised by performers
    ~     played on continuo instruments: harpsichord, organ, lute
    ~     Figured Bass: musical notation used to indicate chords, intervals, etc.

    Strucure/Form

    Composers

     

     

     

     

    Johann Sebastian Bach

     

    • Interesting fact: The Beatles used influences from Bach's music in their song writing.  
    • Bach wrote for the church and the worship of God. 
    • He never wrote opera in his career; he wrote for the harpsichord, string quartets and virtually every other Baroque form.
    • Bach spent his entire life in Germany, which limited the influence of international composers in his works.
    • His father taught music and was a practicing musician: his entire family was involved with music in some way or another.
    • Bach earned a choral scholarship to a reputed choir school where he furthered his study of music.
    • When playing organ for the church, Bach improvised organ passages. Many people disliked this style and complained about the way he played.
    • Bach was inspired by Handel.
    • After graduating from choir school and being a church organist, he became the court organist for Duke Wilhelm Ernst.
    • During this time, he discovered his love for teaching and dedicated his life to teaching.
    • He was very experimental with instrumental music during the time he spent at Cothen.
    • He spent a number of years as a Cantor of Leipzig. By this time, he had 20 children.
    • He was buried in St. Johns Cemetary in 1750.

     

     

     

    Antonio Vivaldi

     

                 

    • An Italian composer very popular for his instrumental music and operas. He developed the concerto.
    • The concerti highlighted various unusual combinations of instruments.
    • Over his lifetime wrote over 500 concerti: primarily for solo violin and group ensembles.
    • His concerti had a fast, slow, fast form with a ritornello form.
    • His famous group The Four Seasons for the concerto gives dramatic and colorful aspects. Each concerto is a different season. 

     

        Some examples of his works are :

    • Orchestral music, including over 239 violin concerti, including Le quattro stagioni (The Four Seasons, Op.8, Nos.1-4, c.1725), other solo concerti (bassoon, cello, oboe, flute, recorder), double concerti, ensemble concerti, sinfonias
    • Chamber music, including sonatas for violin, cello and flute, trio sonatas
    • Vocal music, including oratorios (Juditha triumphans, 1716), Mass movements (Gloria), Magnificat, psalms, hymns and motets
    • Secular vocal music, including solo cantatas and operas

     

     

  11. Hirtenfeld in Eastern Styria, Austria (Austrian)
  12. student at Graz University
  13. became the organist of the famous Scottish Church in Vienna
  14. then appointed Court Composer by the Emperor
  15. 1701 Fux became Capellmeister at St. Stephen's Cathedral
  16. 1711 became Music Director at the Imperial Court itself, the highest musical position in Europe Gradus ad Parnassum, a textbook from which most of the composers of the next generation learnt their counterpoint , even Bach himself had a copy in his library
  17. Published
  18. "the greatest master of the Austrian Baroque"
  19. Lucca, in Tuscany, (Italian)
  20. played the violin in the Town Orchestra for three years
  21. moved to Naples in 1711 to take up the position as Leader of the Opera Orchestra
  22. Music historian Dr. Burney put it, "his unexpected accelerations and relaxations of measure".
  23. Moved to England and became a brilliant violin player
  24. invited to play the violin before George I
  25. Published "The Art of Playing the Violin" (1731) along with Rules for Playing in a True Taste A Treatise of Good Taste in the Art of Musick, a Guida harmonica with supplement (c.l754), The Art of Accompaniment (c.l754) compositions and his theoretical treatises
  26. Geminiani based his earliest published Concertos on Corelli's Sonatas for Violin and Continuo, Op.5
  27. Magdeburg (German)
  28. As a child he showed considerable musical talent, mastering the violin, flute, zither and keyboard by the age of ten and composing an opera (Sigismundus, on a text by Postel)
  29. Attended Leipzig University in 1701
  30. within a year of his arrival he founded the student Collegium Musicum with which he gave public concerts (and which Bach was later to direct)
  31. Telemann wrote operatic works for the Leipzig Theater, and in 1703 became musical director of the Leipzig Opera and was appointed organist at the Neue Kirche in 1704
  32. 1705 he accepted an appointment as Kapellmeister to the cosmopolitan court of Count Erdmann II of Promnitz at Sorau
  33. His association with the Sorau Kantor and theorist Wolfgang Caspar Printz and the reformist poet Erdmann Neumeister as well as the proximity to Berlin and contact with Polish folk music all proved stimulating
  34. invasion by the Swedish army, causing the Court to be hurriedly disbanded
  35. he went to the free imperial city of Frankfurt-am-Main to take up duties as Director of Municipal Music and also as Kapellmeister of the Barfüßerkirche
  36. He composed occasional music for civic ceremonies, five year-long cycles of church cantatas, oratorios, orchestral music and a wealth of chamber music, much of which was published; only the opportunity to produce opera was lacking
  37. in 1721, the coveted post of Kantor of the Hamburg Johanneum, a post that traditionally carried with it teaching responsibilities and the directorship of Hamburg's five principal churches, became vacant, and Telemann was invited to succeed Joachim Gerstenbüttel
  38. was required to compose two cantatas a week, annually to produce a new Passion, and to provide occasional works for church and civil ceremonies
  39. Modena, Italy (Italian)
  40. trained as a cellist in Bologna
  41. member of the Accademia Filarmonica
  42. a musician at San Petronio (for which he composed two Lenten oratorios, 1687-8)
  43. maestro di cappella at San Giovanni in Monte until 1689
  44. Bononcini collaborated with the poet Silvio Stampiglia on six serenatas, an oratorio and five operas, of which the last, Il trionfo di Camilla
  45. recruited in 1698 to the court of Leopold I in Vienna
  46. After the death of Emperor Joseph I in 1711, Bononcini left the Viennese court for Rome
  47. 1719 he was invited to London by the Earl of Burlington to become a composer for the Royal Academy of Music under Handel's direction
  48. Bononcini was warmly received in London where Astarto opened the second season at the King's Theatre in the Haymarket late in 1720, outshining Handel's own operas . L'odio e l'amore followed a month later at the Haymarket Theatre
  49. Muzio Scevola
  50. Bononcini returned to London, accepting a position as director of the private concerts of the Duchess of Marlborough
    51.

    George Frideric Handel

     

    • English composer, but German by birth and was most famous for his Operas and Oratorios.
    • He composed for the general public.
    • At a young age, he composed with an Italian style. His first Opera, Almira, was a big success. 
    • While he was in England, he maintained an Italian style in his Operas. But, he later developed into a light and ballad opera.
    • Around 1728, the Italian style had faded so he started writing Oratorios. His most famous was Messiah in 1742.
    • He was an amazing organist.

     

    His Works Include:

    • Over 40 operas, including Almira (1705), Rinaldo (1711), Giulio Cesare (Julius Caesar, 1724) and Orlando (1733)
    • Oratorios, including Esther (1718), Alexander's Feast (1736), Israel in Egypt (1739), Messiah (1742), Sampson (1743), Belshazzar (1745), Judas Maccabaeus (1747), Solomon (1749) and Jephtha (1752); other sacred vocal music, including Ode for the Birthday of Queen Anne (c.1713), Acis and Galatea (masque, 1718), Ode for St. Cecilia's Day (1739), Utrech Te Deum (1713), anthems and Latin church music
    • Secular vocal music, including solo and duo cantatas; arias
    • Orchestral music, including Water Music (1717) and Music for the Royal Fireworks (1749); concerti for oboe, organ, horn
    • Chamber music, including solo and trio sonatas
    • Keyboard music, including harpsichord suites, fugues, preludes, airs and dances

     

     

     

    Claudio Monteverdi

    Dates of Life: 1567-1643Place of Birth: Cremona Place of Death: Venice

     

     

     

    Nationality:

    Life:

    Mentors:

    Influences:

    Compositions:

    Great Works:

    Unique Style:

    Other Facts:

     

     

     

     He bridged the worlds of the High Renaissance and the Baroque Era. He could re-invent and adapt his musical styles according to changing tastes. All of his music, early or late, is characterized by qualities of emotional intensity, depth of expression and understanding of human nature comparable with those that inform the works of Shakespeare.     He was a master of producing precisely styled motets that extended forms of Marenzio and Giaces de Wert. He used idiomatic writing, virtuoso flourishes and a thorough going use of new techniques.     Vespro Della beata vegine, Vespers of the Blessed Virgin, (1610) a glorious setting for voices and instruments, L’Orfeo (1607) an opera.     Operas, Madrigals, Motets    The death of his wife and his close friend were influences when he composed the Vespers of the Blessed Virgin, which date from this unhappy period.     None found    Began his career as a chorister at the cathedral in Cremona. At the age of 16 he had already published his volume of three-part motets and a book of sacred madrigals. In 1601 he became maestro di cappela at the Mantuan court. In 1607 he wrote his first opera L’Orfeo. The tragic death of his wife and close friend made him suffer a complete collapse. During this time he wrote Vespro della beata vergine (Vespers of the Blessed Virgin 1610). He wrote many ballets and operas for the Mantuan court, but many of his scores were destroyed when Austrian troops sacked the palace in 1630 in Venice. His madrigal collections show his moving with the times, from typically Renaissance polyphony pieces to highly expressive dramatic works for solo voices with instrumental accompaniment.     Italian

    Johann Joseph Fux

    • 1660-1741

    Famous Pieces: Costanza e Fortezza,

    Secular/Sacred composer

     

     

     

    Francesco Germiniani

    • 1687-1762

    Famous Pieces:

    Concertos as Op.7 (1746)

    The Enchanted Forest, a staged pantomime scored for two violins and cello with an orchestra of two trumpets, two flutes, two horns, strings and timpani.

    Violin Sonatas Op.1 and 4

    Ornaments for both slow and fast movements as well as cadenzas; he advocated the use of vibrato 'as often as possible'.

    Concerto Grosso versions of Op.4 (1743)

    Op.5 Cello Sonatas

    'modernized' versions of the Op.2 and 3 Concertos

    in 1757 a final arrangement of Op.1 in trio format

    Concertos, Op.2 and 3

     

    Giovanni Battista Bononcini

      • 1670-1747
      • Modena, Italy (Italian)
      • trained as a cellist in Bologna
      • member of the Accademia Filarmonica
      • a musician at San Petronio (for which he composed two Lenten oratorios, 1687-8)
      • maestro di cappella at San Giovanni in Monte until 1689
      • Bononcini collaborated with the poet Silvio Stampiglia on six serenatas, an oratorio and five operas, of which the last, Il trionfo di Camilla
      • recruited in 1698 to the court of Leopold I in Vienna
      • After the death of Emperor Joseph I in 1711, Bononcini left the Viennese court for Rome
      • 1719 he was invited to London by the Earl of Burlington to become a composer for the Royal Academy of Music under Handel's direction
      • Bononcini was warmly received in London where Astarto opened the second season at the King's Theatre in the Haymarket late in 1720, outshining Handel's own operas
      • Muzio Scevola
        • . L'odio e l'amore followed a month later at the Haymarket Theatre
    • Bononcini returned to London, accepting a position as director of the private concerts of the Duchess of Marlborough

    Famous Operas:

    Il trionfo di Camilla, Muzio Scevola. L'odio e l'amore, Astarto, Astianatte, Laudate pueri, Concert Spirituel, and Te Deum.

     

    Georg Philipp Telemann

    • 1681-1767

      Famous Operas:

       

       

      Jean Baptiste Lully

       

       

       

       

      Glossary

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