The Baroque Spirit

1600-1750
Baroque

derived from Portuguese

barroco pearl of irregular shape
Period of change and adventure
Rise of the Middle Class Wealth, Power
Evolution of pomp and splendor of Art,
elaborative decoration and grandeur
Absolute Monarchy Government
Courts employed opera troupes, chapel
choirs and orchestras
Operas were a favorite

The Baroque Spirit

Middle

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_rappresentati
vo

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
Structures
Basic

harmonies were understood and not fully

notated
Figured bass: shorthand notation for harmony
Chords created throughimprovisation

Basso continuo: bass part, performed by 2

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

Major-minor

tonality system is established

Equal temperament: a tuning system that allows

instruments to play in all keys is developed
J. S. Bach'sThe 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

Elements
Renaissance

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

Elements
Renaissance

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

Musician
Instrument

builders improved and refined

instruments
Composers 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
Countertenororfalsettist:"natural" high male voice

Performers

improvised beyond what was written

in the music score

Baroque Opera
The

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
Composers
The

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 Features

Stile

concitato (agitated style) expressed

hidden tremors of the soul
tremolo, pizzicato

The

text should be the master of the

musicnot 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 Period

Out of the palace to the opera house
Cast emperors to common folk (appeal) to the
masses)
Imitative declamatory duet
Sinfonia Instrumental piece (transition)
A B B A Form
Ground Bass four note repeated bass line
Extensive use of Word Painting
Melissmas on Pur tannodo (I enchain you)
Dissonances on peno (grieving), moro (sorrow)
https://
www.youtube.com/watch?v=ddZNuKR9O8s&safe=activ
e

Dido and Aeneas Henry Purcell

Purcell

- 1659-1695
Tragedy - 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 Aeneid
The

text, and the Purcell opera are alluding to

the Roman legend of theAeneid, 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 & Didos Lament

Purcell - Analysis
The

openingrecitativesecco, "Thy hand,

Belinda", is accompanied bycontinuoonly.
Word paintingis 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
meteris3/2in thekeyofG 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
inregisterwith a suddencrescendodisplaying
her desperate cry with urgency as she prepares

Text Thy Hand Belinda &

Didos Lament
Recitative
Thy

hand, Belinda, darkness shades me,

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

16851750
Born

in Germany
Studied and composed in Italy
Success brought him to London Royal
Academy of Music
Prolific composer of Italianopera seria
Julius Caesar
Afteropera

seriafell out of vogue,

composed oratorios
Israel in Egypt, Messiah, Judas
Maccabaeus, Jephtha

Handel's Music
Tended

toward diatonic
harmonies
Tone color used for atmosphere
and expression
Wrote more than 40 operas
Expanded the role of the chorus
Prolific composer of instrumental
music
Orchestral suites
Water Music
Music for the Royal Fireworks

Messiah - Background
Messiah

Saviour
Son of God (Christian, Islam)
Christians believe the Messiah
prophecies were fulfilled in the
mission, death, and resurrection
of Jesus and that Jesus willreturn
to fulfill the rest of Messiah
prophecy.

Messiah - Oratorio
Theoratoriois

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
(includingMessiah).
Messiahis an oratorio in three parts: it opens with
aFrench overtureand features recitatives
(secco(syllabic)andaccompagnato
(melissmatic), lyrical arias, and majestic choruses,
including the famous "Hallelujah Chorus."
The text forMessiahis 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 onFrench overture slow then fast):
A: slow introduction, tempo isgrave(slow, solemn, with dotted rhythms)
B: Allegro in imitative style, returns tograve

Recitative: bothseccoandaccompagnato
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 Facts
text

compiled by Charles Jessenfrom theKing

James Bible
structure 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 Christs 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 inMessiahdo not assume dramatic
roles

Messiah Story
Part

I, the Messiah's coming and the Virgin

Maryare predicted by theOld Testament
prophets.
Part II coversChrists Passion and his death,
hisResurrection andAscension, the first
spreading of the Gospelthrough 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 Cantata
Integral

part of the Lutheran Church Service

Bach composed 60 cantatas representing
each Sunday plus holidays and special
occasions
5 or 6 cycles leading to over 200 such works
Cantata featured Recitatives, Aria, Duet and
Chorus
One or more solo vocalists
Instrumental accompaniment
Sacred theme
Unified 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 unison
Later hymns were written in 4-part
harmony, with melody in the soprano
Chorales 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-slowfast
Written for 18 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 (16781741)

Catholic Priest in Venice, "the red priest" (reference to
hair color)
Music master at the Conservatorio del'Ospedale della
Piet
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 Vivialdis 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

Bachs Choral Style

Lyricism

found in Bachs Arias,

elaborate movements with ornate
vocal lines
Expressive instrumental
accompaniment combined with
vocal lines to create intricate
polyphonic texture
Fugue