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BAROQUE MUSIC
Baroque

DATES:
The Baroque period stretches roughly
from 1600 to 1750 (coincides with the
death of J.S. Bach.)

BAROQUE:
From the Portuguese word “barroco”
meaning an ornamented piece of jewellery.
First used to describe the highly decorative
style of architecture at the time.
Fingerprints of musical style
Early Baroque composers favour a light, homophonic
musical texture – melody plus simple chordal
accompaniment; but before long, there is a return to
polyphonic (contrapuntal) textures.
 The basso continuo, or figured bass, becomes the
musical foundation for most types of piece – providing a
purposeful bass-line (sometimes a “walking bass”)
making the music move steadily onwards.
 The same musical mood is usually kept throughout an
entire piece.
 The violin family takes over from the viols; the orchestra
begins to take shape, with the string section as a firm
basis – always with keyboard continuo (harpsichord or
organ) filling out the harmonies above the figured bass
and decorating the musical texture.

Fingerprints 2

The system of modes falls out of use by the end of the 17th century;
music is now based on major and minor scales.

Typical forms used by Baroque composers: binary, ternary (including
the da capo aria), rondeau, variations (including the ground bass,
chaconne, passacaglia), ritornello form, fugue.

Main types of Baroque music:
vocal – chorale, recitative and aria, opera, oratorio, cantata;
instrumental – Italian overture, French overture, toccata, prelude,
chorale prelude, dance suite, trio sonatas (sonata da camera, sonata
da chiesa), concerto grosso, solo concerto.

Often, energetic rhythms drive the music forward: melodies are
frequently long and flowing, and decorated with ornaments (eg
appoggiaturas, trills); contrasts (particularly in concertos), of
instrumental timbres, of few instruments against many, of loud
contrasted against soft (“terraced dynamics”, sometimes echo
effects), and “blocks” of sound of different timbres (eg strings and
wind alternately, then together).
Instruments-Harpsichord


A harpsichord is the general term for a family of European
keyboard instruments, including the large instrument nowadays
called a harpsichord, but also the smaller virginals and the spinet.
All these instruments generate sound by plucking a string rather
than striking one, as in a piano or clavichord. The harpsichord family
is thought to have originated when a keyboard was affixed to the
end of a psaltery, providing a mechanical means to pluck the strings.
Baroque Orchestra






Typical features include:
Strings to which composers would add 1 or 2
flutes (or recorders), oboes, bassoons, perhaps
horns, occasionally trumpets and kettle drums.
Organ or harpsichord continuo to build up
chords on a bass line (figured bass),
Effects of contrast- dynamics and textures.
Ribbons of sound- oboes and trumpets against
strings, or
Blocks of sound- contrasting groups- strings
then wind then tutti (all) resulting in terraced
dynamics rather than crescendo or diminuendo.
Baroque Orchestra

The Baroque Orchestra is the earliest example
of a true orchestra which came into existence in
the mid-late 1600s. Its origins were in France
where Jean-Baptiste Lully added oboes
(hautboys) and transverse flutes to his vingtquatre violons du Roy. As well as violins and
woodwind, the baroque orchestra would have
still contained continuo instruments such as the
harpsichord or theorbo (lute). The new-fangled
instrumentation and orchestration soon spread
to the rest of Europe and soon became the
standard solo instrumental grouping.
Typical forms used by Baroque
composers
Binary (AB)
 Ternary (including the da capo aria) (ABA)
 Rondo (ABACADA)
 Variations (including the ground bass,
chaconne, passacaglia)
 Ritornello form
 Fugue

Main types of Baroque music
VOCAL – OPERA, ORATORIO, chorale,
recitative and aria, cantata;
 INSTRUMENTAL – CONCERTO GROSSO,
SOLO CONCERTO, FUGUE, Italian
overture, French overture, toccata,
prelude, chorale prelude, dance suite, trio
sonatas (sonata da camera, sonata da
chiesa),

OPERA


Opera refers to a dramatic art form, originating in Italy,
in which the emotional content or primary entertainment
is conveyed to the audience as much through music,
both vocal and instrumental, as it is through the lyrics.
From the beginning of the form (about 1600), there has
been contention whether the music is paramount, or the
words
The drama is presented using the primary elements of
theatre such as scenery, costumes, and acting. However,
the words of the opera, or libretto, are customarily sung
rather than spoken. The singers are accompanied by a
musical ensemble ranging from a small instrumental
ensemble to a full symphonic orchestra.
ORATORIO


An oratorio is a large musical composition for orchestra,
vocal soloists and chorus. It differs from an opera in that
it does not have scenery, costumes, or acting. Oratorio
closely mirrored opera in all ages in musical style and
form, except that choruses were more prominent in
oratorio than in opera. The peak period for composition
of oratorios was the 17th and 18th centuries.
Most oratorios from the common practice period to the
present day have biblical themes, but a number of
composers, notably George Frideric Handel, wrote
secular oratorios based on themes from Greek and
Roman mythology. Whether religious or secular, the
theme of an oratorio is meant to be weighty, and can
include such topics as the creation of the world, the life
of Jesus, or the career of a classical hero or biblical
prophet.
CONCERTO GROSSO


The concerto grosso (plural concerti grossi) (Italian for
big concert) was a popular form of baroque music using
an ensemble and usually having four to six movements
in which the musical material is passed between a small
group of soloists (the concertino- little ensemble) and
full orchestra (the ripieno- filling).
Other major composers of concerti grossi were Georg
Friedrich Händel, who expanded the ripieno to include
wind instruments. Several of the Brandenburg Concerti
of Johann Sebastian Bach also loosely follow the
concerto grosso form, notably the 2nd Concerto, which
has a concertino of recorder, oboe, trumpet, and solo
violin.
SOLO CONCERTO



In classical music, the word concerto (pl. concerti or
concertos; from the Italian concerto, which means
concert) is a label for a piece in which a small musical
group and a large musical group are given distinct roles,
with the smaller group to the fore.
The most common kind of concerto pairs a solo
instrument with a full orchestra. The term also implies
the musical form of a piece, as most pieces called
"concerto" have three movements, of which the first is
typically in sonata form and the last typically a rondo.
The term apparently arose in the beginning of the 17th
century, and came to describe chiefly compositions
which bring unequal instrumental or vocal forces into
opposition.
Ritornello form
In both types of concerto, movements are
built up in ritornello form.
 The music starts off with the ritornello
(little return) played by the ripieno group
(tutti meaning “all”) with the soloist(s)
joining in. This is the main theme and it
returns at various points throughout the
movement. It may reappear in full or in
shortened form.

Ritornello structure

Between appearances of the ritornello there are
contrasting sections of music called episodes.
Ritornello Episode1 Ritornello Episode2 Ritornello
Tutti
Soloist(s) Tutti
Soloist(s) Tutti
FUGUE


In music, a fugue is a type of contrapuntal composition.
It begins with a theme stated by one of the voices
playing alone. A second voice then enters and plays the
same theme, while the first voice continues on with a
contrapuntal accompaniment. The remaining voices
enter one by one, each beginning by stating the same
theme. The remainder of the fugue develops the
material further using all of the voices and, usually,
multiple statements of the theme.
Middle and late Baroque composers such as Dieterich
Buxtehude (1637–1707) and Johann Pachelbel (1653–
1706) contributed greatly to the development of the
fugue, and the form reached ultimate maturity in the
works of Johann Sebastian Bach (1685–1750).
IDENTIFY THE FORM
1)
2)
3)
4)
5)
CONCERTO GROSSO
ORATORIO
FUGUE
OPERA
SOLO CONCERTO
What is ornamentation?
In music, ornaments are musical flourishes that
are not necessary to the overall melodic (or
harmonic) line, but serve to decorate or
"ornament" that line. They are performed as
"fast notes" around a central note. The amount
of ornamentation in a piece of music can vary
from quite extensive to relatively little or even
none.
 In the baroque period, it was common for
performers to improvise ornamentation on a
given melodic line. A singer performing a da
capo aria, for instance, would sing the melody
relatively unornamented the first time, but
decorate it with additional flourishes the second
time.

Trill

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The trill is a musical ornament consisting of a
rapid alternation between two adjacent notes of a
scale (compare tremolo).
In modern musical notation a trill is generally
indicated with the letters tr above the trilled note.
This has sometimes been followed by a squiggly
line, and sometimes in the past, the squiggly line
on its own was used. The following two notations
are equivalent:
Trill

The usual way of executing a trill is
to rapidly alternate between the note
indicated and the note directly above
it in the given scale
Acciaccatura
From the Italian word acciaccare, "to crush";
The acciaccatura, is perhaps best
thought of as a shorter, less melodically
significant type of ornament. It is written
using a grace note (often a quaver, or
eighth note), with an oblique stroke
through the stem:
Acciaccatura
The exact interpretation of this will vary according to
the tempo of the piece, but the following is possible:
A short figure consisting of the note above the one indicated, the note
itself, the note below the one indicated, and the note itself again. It is
indicated by a mirrored S-shape lying on its side above the staff. An
inverted turn (the note below the one indicated, the note itself, the
note above it, and the note itself again) is usually indicated by
putting a short vertical line through the normal turn sign, though
sometimes the sign itself is turned upside down.
If the turn symbol is placed directly above a note, it is performed
exactly as outlined above. If it is placed between two notes, however,
the note before the symbol is played, then the turn, and then the
following note. So the following turns:
might be played like this:
The mordent is thought of as a rapid single alternation
between an indicated note, the note above (called the
upper mordent) or below (called the lower mordent or
mordent) the indicated note, and the indicated note
again.
The upper mordent is indicated by a short squiggle; the
lower mordent is the same with a short vertical line
through it:
As with the trill, the exact speed with which the
mordent is performed will vary according to the
tempo of the piece, but at moderate tempi the above
might be executed as follows:
From the Italian word appoggiare, "to lean upon"; The
appoggiatura is important melodically and often
suspend the principal note by taking away the timevalue of the appoggiatura prefixed to it The added note
(the unessential note) is one degree higher or lower than
the principal note. The appoggiatura is written as a
grace note prefixed to a principal note and printed in
small character, usually without the oblique stroke:
This would be played as follows:
Baroque composers
J.S. Bach
Handel
Vivaldi
A.Scarlatti
Telemann
D. Scarlatti
Purcell
Couperin
Monteverdi
Rameau
Corelli
Lully
J.S. Bach 1685-1750
Mass in B minor
Brandenburg Concertos
St Matthew Passion
St John Passion
Suites (English, French)
48 Preludes and Fugues
Christmas Oratorio
Solo Concertos
Organ Works
Cantatas
J.S. Bach was born in Eisenach, Germany. He
came from a long family history of
professional musicians including church
organists and composers.
Johann Sebastian Bach was a prolific German
composer and organist whose sacred and
secular works for choir, orchestra and solo
instruments drew together the strands of the
baroque genre and brought it to its ultimate
maturity.
Although he introduced no new forms, he
enriched the prevailing German style with a
robust contrapuntal technique, a control of
harmonic and motivic organisation from the
smallest to the largest scales, and the
adaptation of rhythms and textures from
abroad, particularly Italy and France.
Many people consider him to be the greatest
Baroque composer, and one of the greatest
composers of all time. He was one of the
leading figures, along with the likes of
George Frideric Handel, in the transition from
baroque to Classical music
G.F. Handel 1685-1759
Oratorios- Messiah
Acis and Galatea
14 Operas-incl.
Lotario
Ariodante, Alcina and
Rodelinda.
Water Music
Royal Fireworks
18 Organ Concertos
12 Concerto Grossi
Sonatas and Suites.
He was a German/British Baroque
composer who was a leading composer
of concerti grossi, operas and oratorios.
Born in Germany as Georg Friedrich
Händel he lived most of his adult life in
England, becoming a subject of the
British crown in 1727.
His most famous piece is Messiah, an
oratorio set to texts from the King
James Bible; other well-known works
are Water Music and Music for the Royal
Fireworks. He deeply influenced many
of the composers who came after him,
including Haydn, Mozart, and
Beethoven, and his work helped lead
the transition from the Baroque to the
Classical era.
Monteverdi 1567-1643

Operas- Orfeo,
Arianna
Motets
Madrigals
Vespers
His work marks the transition
from Renaissance to Baroque
music. During his long life he
produced work that can be
classified in both categories,
and he was one of the most
significant revolutionaries that
brought about the change in
style. Monteverdi wrote the
earliest dramatically viable
opera, Orfeo, and was
fortunate enough to enjoy
fame during his lifetime.
Alessandro Scarlatti 1659-1725
Italian composer who had written his
first opera by the age of 12.
 He was especially famous for his operas
and chamber cantatas. He is considered
the founder of the Neapolitan school of
opera. He was the father of two other
Baroque composers, Domenico Scarlatti
and Pietro Filippo Scarlatti.
Opera- Pompeo
 The first composer to strongly
differentiate between the singing styles
Cantatas- over 600
of aria and recitative and used
6 Concerto Grossi
advanced harmonic procedures for the
Oratorios
time.
 Credited with popularising the Da Capo
Aria form.

Domenico Scarlatti 1685-1757


Over 500 harpsichord
sonatas.
14 Sinfonias
Harpsichord
Concerto

He was an Italian composer and
harpsichordist. He was extremely
influential in the development of
keyboard music, especially in Spain,
Portugal and England, through his
individual style.
A harpsichord virtuoso from a young
age, he revolutionised keyboard
technique. First to use rapid
arpeggios, repetition of the same
note and the crossing of hands.
He wrote a lot of works with a
Moorish/ Arabic flavour as the result
of living in Portugal and Spain for
long periods of his life.
Telemann 1681-1767


Opera- Pimpone
(46) St Luke Passion
St Mark Passion
St Matthew Passion
1043 Cantatas
Over 25 Solo Concertos
Over 600 Suites

He was a German composer, and organist.
Self-taught in music, he studied law at the
University of Leipzig. The most prolific
composer of his era, he was a contemporary
of Johann Sebastian Bach and a friend of
George Frideric Handel. While in the present
day Bach is generally thought of as the
greater composer, Telemann was widely
renowned for his musical abilities during his
lifetime.
Telemann traveled widely, absorbing various
musical styles and incorporating them into
his own compositions. He is known for
writing concertos for unusual combinations
of instruments, such as multiple violas or
trumpets.
He held a series of important musical
positions, culminating in that of music
director of the five largest churches in
Hamburg, from 1720 until his death in 1767.
He was succeeded by his godson Carl Philipp
Emanuel Bach.
Corelli 1653- 1713
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12 Concerto Grossi
5 sets (of 12) Trio
Sonatas
Italian composer, teacher and
violinist.
His playing and composing were
an influence on Bach and he
taught Vivaldi.
He is known as “The father of
Concerto Grosso” for his work in
defining the style.
Despite being influential he was
not a prolific composer.
Purcell 1659-1695


Opera- Dido and
Aeneas
15 Fantasies
Trio Sonatas
Anthems- My heart is
inditing for James 2
Coronation


English composer and organist.
He is generally considered to be one
of England's greatest composers —
indeed, he has often been called
England's finest native composer.
Purcell incorporated Italian and
French stylistic elements but devised
a peculiarly English style of Baroque
music
Composed an enormous amount of
theatrical music for plays including
The Fairy Queen, a masque for A
Midsummer's Night Dream, King
Arthur and Indian Queen.
One of his favourite styles of writing
was the Ground Bass.
Vivaldi 1678-1741



Over 500 Concertos
46 Operas
73 Sonatas
Oratorios and sacred
music
The Four Seasons

Italian priest, composer and
violinist.
He is one of the composers credited
with helping the Baroque style
evolve into the Classical style by his
use of harmonic contrasts and
innovative melodies and themes.
Bach was deeply influenced by his
concertos and arias and transcribed
many of Vivaldi's works for
harpsichord.
He was an extremely prolific
composer.
Lully 1632-1687


Opera- Atys
Ballets
Dance Suites

Italian born French composer,
guitarist, violinist and dancer.
Spent most of his working life in
the service of Louis 14th where he
composed ballets and later
operas. He transformed the often
stately court dances into lively,
rhythmic affairs and added many
instruments to the orchestra of
the time.
He favoured variation forms such
as Passacaglias and Chaconnes.
Rameau 1683-1764
Composer, organist and
harpsichordist
 He was one of the most
important French
composers and music
theorists of the Baroque
era. He replaced JeanBaptiste Lully as the
dominant composer of
French opera, and was
attacked by those who
preferred Lully's style.

Operas
Ballet Music
Pieces de Clavecin
(for harpsichord)
Francois Couperin

Harpsichord
and organ
works
Suites


François Couperin (born in Paris
November 10, 1668 – died September
12, 1733 in Paris) was an esteemed
French Baroque composer, organist
and harpsichordist. François Couperin
was known as "Couperin le Grand"
(Couperin the Great) to distinguish him
from the other members of the
musically talented Couperin family
because of his immense virtuosity on
the organ and the harpsichord.
He was indebted to Corelli whose Trio
Sonata form he introduced to France.
J.S. Bach was an admirer of his
harpsichord technique and
compositions.
QUIZ
TRY YOUR NEW FOUND KNOWLEDGE
WITH THIS INTERACTIVE QUIZ.
 JUST CLICK ON THE ANSWER AND FIND
OUT IF YOU ARE RIGHT.

TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
Italian composer, teacher and
violinist. 1653- 1713
 He is known as “The father of
Concerto Grosso” for his work in
defining the style.

12 Concerto Grossi
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1688- 1733
Baroque composer, organist and
harpsichordist.
Harpsichord and organ works
Suites
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
He was an Italian
composer and
harpsichordist.
1685- 1757
Over 500 harpsichord
sonatas.
14 Sinfonias
Harpsichord Concerto
•He wrote a lot of works
with a Moorish/ Arabic
flavour as the result of
living in Portugal and
Spain for long periods of
his life.
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1681- 1767
Opera- Pimpone
(46) St Luke Passion
St Mark Passion
St Matthew Passion
1043 Cantatas
Over 25 Solo Concertos
Over 600 Suites
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1659-1695
Composer and
organist.
 One of his favourite
styles of writing was
the Ground Bass.

Opera- Dido and Aeneas
15 Fantasies
Trio Sonatas
Anthems- My heart is inditing
for James 2 Coronation
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1567-1643
His work marks the transition
from Renaissance to Baroque
music.
Operas- Orfeo,
Motets
Madrigals
Vespers
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI


1659-1725
Italian composer
who had written his
first opera by the
age of 12.
Credited with
popularising the Da
Capo Aria form.
Opera- Pompeo
Cantatas- over 600
6 Concerto Grossi
Oratorios
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1632-1687


Spent most of his working life in the service of
Louis 14th where he composed ballets and later
operas. He transformed the often stately court
dances into lively, rhythmic affairs and added
many instruments to the orchestra of the time.
He favoured variation forms such as Passacaglias
and Chaconnes.
Opera- Atys
Ballets
Dance Suites
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1685-1750
Mass in B minor
Brandenburg Concertos
St Matthew Passion
St John Passion
Suites (English, French)
48 Preludes and Fugues
Christmas Oratorio
Solo Concertos
Organ Works
Cantatas
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI

1683-1764
Composer, organist and
harpsichordist
Operas
Ballet Music
Pieces de Clavecin
(for harpsichord)
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1685-1759
Oratorios- Messiah
Acis and Galatea
14 Operas-incl.
Lotario
Ariodante, Alcina and
Rodelinda.
Water Music
Royal Fireworks
18 Organ Concertos
12 Concerto Grossi
Sonatas and Suites.
TELEMANN
HANDEL
COUPERIN
PURCELL
VIVALDI
LULLY
J.S.BACH
A.SCARLATTI
RAMEAU
MONTEVERDI
D.SCARLATTI
CORELLI
1678-1741
Over 500 Concertos
46 Operas
73 Sonatas
Oratorios and sacred
music
The Four Seasons
Quiz
What
 What
 What
 What
 What

is
is
is
is
is
a concerto grosso?
a solo concerto?
an oratorio?
an opera?
a fugue?
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