BAROQUE (1600-1750)(The Birth of Opera)

-Two Giants of the era Handel & Bach

-Most other composers forgotten until rediscovered in the 20th century

• The Baroque Period can be divided into 3 sub periods

• (of about 40-50 years each) • early 1600-1650• mid 1650-1700• late 1700-1750

• BAROQUE (1600-1750)• Dramatic extreme contrast and

passion ruled the day in literature and music• Instruments are finally written for

specifically and will soon be dominate

• BAROQUE (1600-1750)• Major and Minor scales and keys will

be developed by the mid period• Early baroque composers favored

homophonic but late composers gloried polyphony • New instrumental emphasis is taken

to extremes.

• Elements of BAROQUE• 1. Unity of Mood• pieces often express one mood

throughout• start sad / end sad • start joyfully /end joyfully ect…

• Elements of BAROQUE• 1. Unity of Mood• composers developed specific rhythms &

melodic patterns to illustrate common moods giving a family resemblance among pieces (similar to Jazz and guitar riffs of today or blues or gospel singers)

• Vocal music though could sometimes have drastic changes in mood to fit the text

• Elements of BAROQUE• 2. RHYTHM• Patterns of rhythm are continuously

repeated throughout from beginning to end providing a drive

• Elements of BAROQUE• 3. MELODY• feeling of continuity opening melody will

repeat over and over varying in octaves but character remains constant

• always ever expanding and very ornamented and elaborate very difficult to sing or remember as a tune

• rapid notes longer dynamic expansion rather than balance and symmetry

• Elements of BAROQUE• 4. DYNAMICS• only gradual changes mostly constant.• main instruments were organ and harpsichord

which had little dynamic range• terraced dynamics (building of notes or

instruments) used instead of just playing louder or softer

• Elements of BAROQUE• 5. TEXTURE• mostly homophonic in early period but by mid

to late period almost all polyphonic• two or more melodic lines going at once but

most important are the soprano and bass• vocal pieces though would shift between

textures to create moods with the text

• Elements of BAROQUE• 6. CHORDS and FIGURED BASS

(BASSO CONTINUO)• In past melody came first and was more

important than any chords that happen to come out of it

• Chords become increasing dominant and some tunes the chords come first then melody

• Elements of BAROQUE• 6. CHORDS and FIGURED BASS

(BASSO CONTINUO)• Most important part of the chord the BASS

note or BASSLINE (in which whole composition rest upon)

• Figured bass MOST CHARACTERISTIC FEATURE of BAROQUE MUSIC

• Elements of BAROQUE• 6. CHORDS and FIGURED BASS

(BASSO CONTINUO)• figured bass or basso continuo is added to

music which chord symbols or numbers outline basic chord structure

• performer of the accompaniment part (usually at least two instruments organ/ harpsichord of low instr i.e cello/bassoon

• Elements of BAROQUE• 6. CHORDS and FIGURED BASS

(BASSO CONTINUO)• performer given freedom to improvise

the part similar to jazz and rock lead sheets of today

• practical use was to save time and paper

• Elements of BAROQUE• 7. WORDS and MUSIC• Word painting with specific words• HEAVEN high notes HELL low notes• Rising scales upward motion joy• Descending chromatic suffering pain lost

love or the Crucifixion • Musical language like this was well

standardized

• Elements of BAROQUE• 7. WORDS and MUSIC• To showcase virtuosity of singer or

instrumentalist …ornate and rapid notes on a single syllable. • Word and phrases would be

repeated to unfold music not lyric

• The Baroque Orchestra• The main make-up was standard

• The Violin family • &

• The Basso Continuo section• Basso Continuo section was

(harpsichord plus cello, double bass or bassoon)

• The Baroque Orchestra• Woodwind • Brass

• Percussion • These would vary from piece to

piece and orchestra to orchestra

• The Baroque Orchestra• Baroque instruments were very different from modern instruments

• The trumpet had no values was very difficult to play at high registers.

• It was associated in past with royals and good trumpeters were treated

very well

• The Baroque Orchestra• BACH, HANDEL, VIVALDI

• (Important Baroque Composers & Orchestral Leaders)

• mixed and experimented with different combinations of instruments

• often reworking compositions between instruments

• (sometimes losing a little in translation) to fit orchestral make up

• The Baroque Orchestra• Most pieces written were concerned

with sounds and not individual instrument quarks.

• Families of instruments would play the same parts as others families sometimes more successful than

others.• YOUTUBE – Baroque Orchestra

• BAROQUE FORMS• all previously discuss forms are

present in Baroque music • AB • ABA’

• thru composed etc….

• BAROQUE FORMS

• Unity of Mood but pieces usually contain separate MOVEMENTS

• MOVEMENTS • have their own themes

• have definite start and end • a brief pause will come in between

movements

• MUSIC in BAROQUE SOCIETY• Before 1800 most music written to order to

meet demands of churches/ municipalities/ and opera houses

• demand was for newly written music and not old style

• Music main source of entertainment for aristocracy (size of $$ court related to size of orchestra, choir and opera singers)

• MUSIC in BAROQUE SOCIETY• Bach directed small 18 piece orchestra but large

could be as much as 80 players and singers• Orchestra usually limited to 30 instrumentalist• Music director responsible for all aspects • (concerts, church music, dinner music, operas plus managing other

musicians, the instruments, and the music library.)

• good & bad to be director • great pay prestige and played original music but still

servant to the aristocracy• some music directors would befriend royals and

others not • some royals good musicians

• MUSIC in BAROQUE SOCIETY• most public only heard music in church • church had orchestra now plus choir • cities compete for best public / church

musicians• earned less than court musicians • made special $$ for weddings and funerals

(made less when less death)• Large Towns some times employed musicians

for processions, concerts for dignitaries, universities.

• MUSIC in BAROQUE SOCIETY• Opera houses mainly in Italy employed

musicians and composers to supply steady steam of new operas

• Often music handed down in the family but training was in the church and orphanages that would later become conservatories.

• Women still not permitted to hold high roles such as music director or choir master but a number of women composers did emerge.

• MUSIC in BAROQUE SOCIETY• To get a job often difficult exams,

performances, and composition submissions would be required.

• Difficult non-music jobs would often go along with the musical position

• Plus Large $$ donations required • Or even arranged marriages to get a highly

regard position.

• Concerto Grosso • major form of orchestral music in late Baroque

period

• SOLOist (small groups or solo) contrasted against Tutti (full orchestra)

• performed more frequently in private aristocratic palaces

• several movements that contrast in character and tempo

• ( 1. fast 2. slow 3. fast) (ABA’ form)

• Concerto Grosso (form)

• ( 1. fast 2. slow 3. fast) (ABA’ form)

• 1. fast (vigorous determined clear contrast between tutti&solo)

• 2. slow (quieter,lyrically,intimate) • 3. fast (carefree,dancelike)

• ritornello – refrained theme that repeats in fragments until the end section where it repeats entirely

• Concerto Grosso (form)

1.a. Tutti, ritornello in home keyb. Solo

2.a. Tutti, ritornello fragmentb. Solo

3. a. Tutti, ritornello fragmentb. Solo

4. Tuttie, ritornello in home key

• Listening Journal : • Brandenburg Concerto No. 5 (J.S. Bach)

• 1st movement only• Dedicated to Brandenburg = German

Aristocrat who requested piece Bach didn’t work for him

• 1st time harpsichord given a solo in a Concerto (new instrument)

• 1st movement allegro (fast section) Concerto with ritornello form (duple meter) in key of D major