How did instrumental music develop during the Baroque era?? Discuss 3 baroque composers that contributed to this development and how they contributed.? Include 1 piece from each composer
#1 – How did instrumental music develop during the Baroque era? Discuss 3 baroque composers that contributed to this development and how they contributed. Include 1 piece from each composer that we have discussed in class, from the textbook, or from the Powerpoint only. Do not use other pieces.
#2 – Discuss the origins of opera during the Baroque era. What influenced them and how did it start? Give 3 examples of song styles or singing styles used in these operas during this time (use only examples that were discussed in the lecture, book or PPT) and explain what kind of style it is and how those examples are different from one another.
Four hundred wrd each
Unit 2 – Baroque #2
Chap. 15 – Music for Chamber & Church Chap. 16 – France, England, Spain & Russia Chap. 17 – Italy & Germany
MUSI 1307 – MUSIC LITERATURE
In this lecture, we will cover…
Music for Chamber & Church in the early 17th Century
Oratorios
Instrumental Chamber Music
France, England, Spain & Russia
Italy & Germany
Use of basso continuo & ground bass
Descending tetrachords – used for lament
Chacona
Cantata
Barbara Stozzi (1619-1677) – “Lagrime mie” – LISTENING #1
Music for Chamber & Church in the Early 17th Century
Example of Descending Tetrachord:
Music for the Church (continued)
Stile antico & stile modern
Sacred concertos
Oratorios – 17th century Rome
Giacomo Carissimi (1605-1674)
“Plorate colles” (recitative) from Historia di Jephthe (ca. 1648) – LISTENING #2
Heinrich Schutz (1586-1672)
Historia – “The Seven Last Words of Christ”
Passions
Instrumental Chamber Music
Solo Works
Chamber works (solo or small group with continuo)
Large ensemble works (for 2 or more players per part)
Types of instrumental music from 1600-1650:
Improvisational style (toccata, fantasia or prelude)
Fugal works (ricecar, fantasia, capriccio, fugue)
Pieces with contrasting sections (canzona or sonata)
Settings of existing melodies (organ verse or chorale prelude)
Pieces that vary a given melody (variations, partita), choral (chorale variations, chorale partita) or bass line (partita, chaconne, passacaglia)
Dances as independent piece or linked together in a suite
Types of instrumental music from 1600-1650:
Improvisational style (toccata, fantasia or prelude)
Girolamo Frescobaldi (1583-1643)
Frescobaldi Toccata No. 3 (1615) – LISTEN
Fugal works (ricecar, fantasia, capriccio, fugue)
Pieces with contrasting sections (canzona or sonata)
Biagio Marini (1593-1663) – opus
Sonata IV – LISTEN
Settings of existing melodies (organ verse or chorale prelude)
Pieces that vary a given melody (variations, partita), choral (chorale variations, chorale partita) or bass line (chaconne, passacaglia)
Dances as independent piece or linked together in a suite
Frescobaldi
Music in France (17th century)
King Louis XIV of France – “24 Violins of the King”
Orchestra
Choreography
Jean Baptiste Lully (1632-1687)
Comedies-ballets, tragedie-lyrique & divertissements
French overture
Notes inegales & Agreements
Lully’s opera, Armide
Overture – LISTENING #3
Act II, Scene 5, « Enfin il est en ma puissance » – LISTEN
Lully
Music in France (continued)
Airs – Air de cour & Air serieux
French School of Organ Music
Clavecin/Harpsichord
Francois Couperin (1668-1733)
Elizabeth-Claude Jacquet de la Guerre (1665-1729)
Style luthe or style brise
Dance suites – ACSG
Allemande
Courante
Sarabande
Gigue
Guerre Suite No. 3 – LISTEN
Minuet
Gavotte
Passepied
Bouree
Prelude/Overture
Music in England (17th century)
Masques
Henry Purcell (1659-1695)
Dido and Aeneus, “When I am Laid in Earth” (1689) – LISTENING #4
Lyrics: When I am laid, am laid in earth, may my wrongs create No trouble, no trouble in, in thy breast. When I am laid, am laid in earth, may my wrongs create No trouble, no trouble in, in thy breast. Remember me, remember me, but ah! Forget my fate. Remember me, but ah! Forget my fate. Remember me, remember me, but ah! Forget my fate. Remember me, but ah! Forget my fate.
Jessye Norman (1945-2019) – dramatic soprano
Music in Spain & the New World (17th century)
Spanish rule the colonies in the Americas
Zarzauela
Tiento – similar to fantasia – LISTEN
Music of Russia (17th century)
Russian Orthodox Church – Byzantine empire roots
1652 – Nikon, head of church
Kontsert
Kant – LISTEN
Tsar Peter the Great – ruled in 1698-1725
St. Petersburg – capital in 1703
Music in Italy (17th century)
Da Capo Aria
Alessandro Scarlatti (1660-1725)
“Si, si ben mio” from Clor vezzosa – LISTENING
Antonio Stradivari (ca. 1644-1737)
Sonatas
Sonata da camera
Sonata da chiesa
Arcangelo Corelli (1653-1713)
Trio Sonatas – Op. 3 No. 2 – LISTEN
Church Sonatas
Chamber Sonatas
Solo Violin Sonatas
Chamber vs. Orchestra
Instrumental concerto
Concerto grosso
Music in Italy (continued)
Music of Germany (17th century)
Dieterich Buxtehude (ca. 1637-1707) – Lutheran composer
Protestant organ music = prelude for liturgy
Chorale preludes, toccatas, preludes with fugues
Buxtehude Toccata in E Major – LISTEN
Fugue
Subject, Answer, Episodes
Zipoli Fugetta in E Minor
Zipoli: Fugetta in E Minor
Key: ___ Minor
Tonic: I = _____
Dominant: V = ______
Zipoli: Fugetta in E Minor
Key: ___ Minor
Tonic: I = _____
Dominant: V = ______
Subject in Tonic (I) Em
Subject in Dominant (V) BM M
Episode (sequence)
Next:
Buxtehude Toccata in E Major – LISTEN
Listen for the fugal melody and identify them as they are played
E
E
B
Click here to watch a nice video about the fugue.
Assignment for this week:
Read Grout textbook Chap. 16-17
Listen to the recordings for this week
Assignment #4
Discussion #3
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Unit 2: Baroque Era #3
Chap. 18 – Early 18th century in Italy and France Chap. 19 – German composers in the Late Baroque
MUSI 1307 – Music Literature
In this lecture, we will cover…
Music in the Early 18th century (late Baroque)
Italy
Antonio Vivaldi
France
Francois Couperin
Jean Philipe Rameau
Germany
George Phillip Telemann
Johann Sebastian Bach
George Frideric Handel
Music in Italy (early 18th century)
Opera was main genre
Naples – Opera
Rome –Instrumental music and some opera
Venice – all
Antonio Vivaldi (1678-1741) – “The Red Priest”
Wrote: Oratorios, sacred music, instrumental music
Concertos – 3 movement plan – Fast-Slow-Fast
Ritornello Form
Vivaldi: Concerto for Violin and Orchestra in A minor, Op. 3 No. 6 (performed by Itzak Perlman)– LISTENING #1
Vivaldi: Four Seasons, Op. 8 “Spring” – LISTENING #2
Music in France (early 18th century)
Paris – music capital
François Couperin (1668-1733)
Composed: organ music, elaborate motets, chamber music & harpsichord suites (“order”)
“Art of Playing the Harpsichord” (1716)
Titles for solo keyboard works
Couperin: Twenty-Fifth Order, The Visionary (1730) – LISTEN
Jean-Philipe Rameau (1683-1764)
Treatise on Harmony (1722)
Terms: tonic, dominant, subdominant, modulation
German Composers of the Late Baroque
Georg Philipp Telemann
(1681-1767)
George Frideric Handel
(1685-1759)
Johann Sebastian Bach
(1685-1750)
Georg Philipp Telemann (1681-1767)
Prolific Composer – wrote over 3,000 works
Paris Quartets – 2 sets of 6 pieces (published in 1730)
Written for flute, violin, viola da gamba (cello) and continuo – LISTEN
Johann Sebastian Bach (1685-1750)
1685 – Born in Eisenach, Germany to a family of musicians.
1694 – Parents die. Move to brother’s home
1699 – Scholarship to St. Michael’s school (Hamburg)
Weimar Period
(1703-1717)
1703 – First job in Weimar as musician in court of Duke Johann Ernst
Left for organist position at Arnstadt church
1705 – hear Dietrich Buxtehude concerts
1707 – New organist position in Muhlhausen; got married
1708-1717 – New job in Weimar as organist for Duke Wilhelm Ernst
Jesu, Joy of Man’s Desiring
Toccata and Fugue in D minor BWV 565 – LISTENING #3
Orgelbücklein
“Great” Passacaglia and Fugue in G Minor, BWV 542 – LISTEN – Cameron Carpenter
Cöthen Period (1717-1723)
1717- New job with Prince Leopold
Wrote Brandenburg Concertos
Wrote Well-Tempered Clavier Book 1, Prelude & Fugue in C minor, BWV 565 LISTENING #4
Sonatas, Concertos, suites, partitas
JS. Bach: Cello Suites No. 1 in G Major, BWV 1007
LISTENING #5 by Yo Yo Ma
Modern version: LISTEN
JS. Bach: Violin Partita No. 1, BWV 1001
LISTEN by Hillary Hahn
Leipzig Period (1723-1750)
1723 – Got job in Leipzig
Wrote Christmas Oratorio, BWV 248
Wrote St. Matthew’s Passion, BWV 244
Wrote Goldberg Variations, BWV 988
20 kids: 3 were musician/composers
Wilhelm Friedmann Bach
Carl Phillipp Emanuel Bach
Johann Christian Bach
BWV (Bach-Werke-Verzeichnis) by Wolfgang Schmeider in 1950
Café Zimmermann
St. Thomas Church
George Frideric Handel (1685-1759)
Handel was internationally famous
Born in Germany
1703 – moved to Hamburg
Travelled to Italy by Prince
Moved to London – SUCCESS
Opera Recitative – simple recitative, accompanied recitative
English Oratorio – Messiah (1742) – LISTENING #6
Listen to “Comfort Ye” – LISTEN
Listen to “Rejoice Greatly” – LISTEN
Instrumental Music:
Water Music – LISTENING (use of period instruments)
Music for the Royal Fireworks – LISTENING (use of period instruments)
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Unit 2 – Baroque Era
MUSI 1307 – Music Literature
1600-1750
Lecture #1 – New Styles in the 17th century
In this Lecture, we will cover:
Historical Context
New Styles of the 17th Century
Invention of the Opera
Historical Events of 1600-1750
1567-1643 – Monteverdi
1632-1687 – Lully
1668-1733 –Couperin
1685-1759 – Handel
1685-1750 – JS Bach
1603 – Death of Elizabeth I
1620 – Arrival of Pilgrims
1626 – Settlement of New York
1610 – Louis XIII becomes King of France
1618-1648 – 30 years War
1667 – Completion of St. Peter’s Square
1692 – Salem Witch Trials
1616 – Shakespeare’s death
1600 – Began Baroque era – time of change, adventure and discovery
Absolute monarchy – King Louis XIV statement “I am the State”
Religious battles
Baroque architecture in palaces
Versailles & Hall of Mirrors (outside of Paris)
Art, literature & music focused on dramatic
Look at two sculptures of David
David by Michelangelo (1504-Renaissance)
David by Bernini (1624-Baroque)
David by Michelangelo (1504-Renaissance)
David by Bernini (1624-Baroque)
Doctrine of Affections
Joy, Anger, Love, Fear, Excitement & Wonder
Descartes
Greek’s Doctrine of Ethos
Concertato medium/concerted madrigal
Cadenza
Basso continuo – played by Harpsichord or lute
Figured Bass
This Photo by Unknown Author is licensed under CC BY-NC
Invention of Opera
Inspiration for Opera
Pastorale Dramas
Madrigal comedy or Madrigal cycles
Intermedio
Florentine Camerata
Guilio Caccini (1550-1618)
Arias
Giulio Caccini: Vedrò 'l mio sol – LISTEN
Jacopo Peri (1561-1633)
first opera “Euridice” based on poem, Dafne
Recitative Style
Peri: “Per quel vago boschettoin” from Euridice LISTENING #1
Claudio Monteverdi (1567-1643)
First to show full potential of opera
Became Maestro di cappella at St. Mark’s Cathedral
Concitato genre / Stile concitato
Monteverdi’s first opera “L’Orfea”
L'Orfeo, excerpt from Act II, Vi ricorda o boschi ombrosi – LISTEN
Teatro San Cassiano (1637)
St. Mark’s Cathedral – he wrote Poppea
L'incoronazione di Poppea Act I, Scene 3, «Signor, deh non partire» LISTENING #2
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