CHAPTERS 13-14
CH. 13: THE BAROQUE SUITE
Since we’ve begun talking about
instrumental music it has been associated
with DANCING.
 Instrumental music closely linked with
dancing
 Suite – set of dance-inspired movements

 Movements
in the same key but differ in
tempo, meter, character

Variety of origins:
 Allemande
– Germany (followed by a fast
courante and moderate gavotte from France)
 Sarabande – Spain (slow, solemn)
 Gigue – England and Ireland (fast)
Played in homes, court concerts, or
background music for dinner, outdoor
festivals
 2-part form with each section repeated:
AABB
 Often begin with movement that is not
dance-inspired


Bach wrote 4 suites for orchestra
Suite No. 3 in D Major (1729-1731)
J.S. Bach
Second Mvt. Air
 S- serene, lyrical strings
 H- basso continuo accompaniment
 M- rhythmically irregular melody
 R- Duple
 F- A A B B
 T- polyphonic

Suite No. 3 in D Major (1729-1731)
J.S. Bach
Fourth Mvt. Bourrée
 S- Full orchestra with trumpet & tympani
 H M- lively dance
 R- Duple
 F- A A B B
 T- polyphonic

Suite No. 3 in D Major (1729-1731)
J.S. Bach
Fifth Mvt. Gigue
 S- Full orchestra with trumpet & tympani
 H M- lively dance
 R- Duple 6/8
 F- A A B B
 T- polyphonic

CH. 14: CHORALE AND CHURCH
CANTATA

Leipzig, Bach’s time, Lutheran church
service on Sunday was social event of
week – 7:00 a.m., 4 hours long
 Bach’s
church had small orchestra and choir

Chorale (hymn tune) – sung to German
religious text
 Easy
to sing and remember, one note to a
syllable, steady rhythm
 Tunes – had been composed in 16th-17th
centuries or adapted from folk songs and
Catholic hymns
 Many hymns of today from this time
Church cantata – chorus, vocal
soloists, organ, small orchestra
 Principal means of musical expression in
Lutheran church
 German religious text
 Written for the different texts for each
Sunday
 A musical sermon to reinforce the
minister’s sermon

Average: 25 minutes
 Several movements – choruses,
recitatives, arias, duets

 Closely

resembled:
Bach wrote about 295, 195 still exist
Cantata No. 140: Wachet auf, ruft
uns die Stimme (1731) J.S. Bach

Books, pg. 174
CONCERTS TO ATTEND

EHS
 Tuesday,
Oct. 11, 7:30 p.m. – Choir Concert
 Thursday, Oct. 13, 7:30 p.m. – Orchestra
Concert
 Friday/Saturday, Dec. 2-3 – Madrigal Dinners
(Liberty MS)
 Wednesday, Dec. 7, 7:30 p.m. – Holiday
Concert

Greenville College (Greenville, IL – about
35 minutes from here)
 Sunday,
December 4, 4:00 p.m. – Handel’s
Messiah and Bach’s Magnificat

“Live at the Met” (Edwardsville movie theater)

Donizetti’s Anna Bolena



Sat., Oct. 15, 11:55 a.m.
Wed., Nov. 2, 6:30 p.m.
Anna Netrebko opens the Met season with her portrayal of
the ill-fated queen driven insane by her unfaithful king. She
sings one of opera's greatest mad scenes in this Met
premiere production by David McVicar. Ekaterina Gubanova is
her rival, Jane Seymour, Ildar Abdrazakov sings Henry VIII,
and Marco Armiliato conducts.

Mozart’s Don Giovanni



Sat., Oct. 29, 11:55 a.m.
Wed., Nov. 16, 6:30 p.m.
Mariusz Kwiecien brings his youthful and sensual
interpretation of Mozart’s timeless anti-hero to
the Met for the first time, under the direction of
Tony Award®-winning director Michael
Grandage and with Fabio Luisi conducting. Also
starring Marina Rebeka, Barbara Frittoli, Ramón
Vargas, and Luca Pisaroni.

Wagner’s Siegfried
 Sat.,
Nov. 5, 11:00 a.m.
In part three of the Ring, Wagner’s cosmic
vision focuses on his hero’s early conquests,
while Robert Lepage’s revolutionary stage
machine transforms itself from bewitched
forest to mountaintop love nest. Gary Lehman
sings the title role and Deborah Voigt’s
Brünnhilde is his prize. Bryn Terfel is the
Wanderer. Fabio Luisi conducts.

Glass’s Satyagraha
 Sat.,
Nov. 19, 2011, 11:55 a.m.
The Met’s visually extravagant production is
back for an encore engagement. Richard Croft
(right) once again is Gandhi in Philip Glass’s
unforgettable opera, which the Washington
Post calls “a profound and beautiful work of
theater.”

Handel’s Rodelinda
 Sat.,
Dec. 3, 2011, 11:30 a.m.
Sensational in the 2004 Met premiere of
Stephen Wadsworth’s much-heralded
production, Renée Fleming reprises the title
role. She’s joined by Stephanie Blythe and
countertenor Andreas Scholl, and Baroque
specialist Harry Bicket conducts.