Baroque History Test 2 Preparation PDF

French performance styles - Triade: refers to a baroque musical element that is a rapid run connecting 2 melody notes - Overdotting: a practice in French classical performance to notate dotted rhythms regularly but perform them much sharper, something like with 2 dots - Notes inegal...

French performance styles - Triade: refers to a baroque musical element that is a rapid run connecting 2 melody notes - Overdotting: a practice in French classical performance to notate dotted rhythms regularly but perform them much sharper, something like with 2 dots - Notes inegales : indicates that 2 successive short notes should be performed with unequal duration, even though they are notated with equal rhythmic values - Agreements: a term used to describe the French baroque style of ornaments - Style brise: arpeggiated harpsichord playing Elisabeth Calude Jacquet de la Guerre - French composer - played the keyboard at the court of Louis 14th - composing at a young age (Born from a musical family) - Trained by the “trade of music” = the marble of our century - Pieces de Clavecin = Piece for Harpsichord = French, English, partitas → Suite = Prelude (Start part) - unmeasured (imitate an improvisation) → No bar lines - no strict meters - Imitates the lute / Theorbao (Lute used many in the music) Alsserando Scarlatti (1660 - 1725) - one of the most prolific composers of vocal music - Father of Domenico Scarlatti - Compose in both Rome and Napals - Studied with Carissinnin ( + close relationship with Handel) - Wrote over 600 cantatas / 100+ operas / 35 oratorioes - father of the vocal genre in the 18th century (Many composers used his music styles) Italian cantata - Cantata : Particularly significan in lutheran Germany Like opera scenes + Church sonatas which are a staple of the weekly worship service / J.S Bach was the leading composer in this genre feathered mixed counterpoints, recitatives, arias, and choral - repeat 3 times - 18 lines of recitatives (narrative) + 6 lines of aria - Common themes: love, mythology, pastoral life, and romance - Text is poetic in Italian - Accompanied by a continuo (Harpsichord, lite, or organ with a cello or Basson) Ex) Cain oratorio Italian Oratorio - Unstaged “sacred: operas - written due to a lower budget - starts in Italy ~ 1650 - The first oratorio (Jephta) was written by Carissinni in Rome took a biblical story and made a short unstaged drama - ~ 1700, by A.Scarlatti the form has changed / sacred - biblical / entertainment: performed in palace, theatre, etc Lent (period before easter) / Carnival(2 weeks) → opera;lent (40 days) → no opera performed during this time April Easter - Biblical story - high drama - Recitaites, arias, choruses - Not staged, no acting, no costumes Da Capo Aira (ABA form) - standaard aria structure in opersa seria - allowing the singers to showcase vocal ornamentation in the return of the A section - A section: The main melody, introduction to the principal theme or emotion of the aria B section: A contrasting middle section, often in a different key, mood, or tempo providing a shift in emotional perspective Return to A: After the B section, the performer repeats the A section (Beginning) but often with added ornamentation and improvisation Arcangelo Corelli (1653 - 1713) - Violinist, writes for instrumental music - concert organizer - conductor & publications - famous for the publication of violin music: less than 90 music survived in 3 genres : Trio sonatas, solo violin sonata, and concerto grosso - Tonal Harmony → Use of Major and minor scale instead of modes → *Consistently use a circle of 5th* - Tiro sonatas: 2 violins and basso continuo (At least 4 players) - Violin sonatas: Opus 5. In total 12 pieces of music 1. Sonata types - Sonata da camera (Chamber sonata) / Corelli = Chamber sonata = For private performances, chamber music = A series of dances = Form: prelude, allemande, corrente, sarabade, giga 2. Sonata de Chiesa (Church sonata) = Serious style (Grave) = Series of pieces for transition times in a church service = Later became concert music = Form: 4 mov. / S-F-S-F = different types of counterpoint = Characteristics: Suspensions / Palestrina / old style / walking bass / Imitation / fugal → private performance → structure = series of dances → Prelude - Corrente - Sarabanda - Griga = Itali, and French dances Ex) Corelli sonata de Chiesa Op.3 (Church sonata) = Walking base (Bach) / Counterpoint - Suspensions / Palestrina style (Old) / Circle of fifth Diatonic melody / Beginning chord and ending chord (Bm) / Embellishment / Use organ → The example of the circle of the fifth in the piece = Modern style moderno (Fugal) → 멜로디 라인 위로 / 베이스 라인 밑으로 감 Corelli Op.2 No.9, f# minor (Chamber sonata) = Sarts at the Allemanda - Geramn dance 4/4 = Use of Harp Shichord = 2nd mov. Sarabande → Latin America Portugal, Spain, France ¾ = 3rd mov. Giga → 4/4 & a lot of 3잇단음표 & Base 8/6 Corelli Solo sonatas Op.5 (1700) - 12 sonatas & 6 chambers / 6 church - Two bass lines → 3 lines (Adding the first line tells us the ‘suggested embellishments’) - 1~6 Church / Slow mov. Corelli has added embellishment (2nd publication) - First = Binary (2 parts A & B) → A (ends with chord 5) B section (opening) - key changes → Call D.C. Aria & Ternary - 2nd = counterpoint lines in the violin (Counterpoint ‘fugal’) + Harpsichord bass line + - 3rd & 4th mov. fast mov. Corelli last sonata “Follia” - Follia = folly (Madness and frenzy) = origin (Folk dance) Portugal and Spain = street / party / drinking / drag / guitars / percussion = start, slow, mild → fast, virtuosic, frenzied state = set of themes and variations → Sound improvised - Bassline = 1, 5, 3, 7, … go on (m→ M) = Ground bass = Ostinato French Suite of dances = Allemande (Next part of prelude) - Moderato - German - dance style for listening, dancing artistic X, more complex - Moderate and many of the ornaments, Agrements (fixed ornaments, signs, P.U) (**) - Flexibility in the Rhythm (*) & ornaments - Binam form → A to B (am → CM → am) - A specific style of this part (a lot of variations) → notes in regales - similar to Bach’s music - arpeggio = imitating the lute = the broken style, = Courante - Modesalety fast (Flowing, running → faster than Allemande) - French music - Started as the 3/2 & Meters 3/2, 6/4 → change Syncopations a lot of rhythmic elements - Harpsichord makes the dynamics through articulations, and many other things = Sarabande - slow dance - Came from the Latin America → Rowdy folk dances (Body lyrics) - Zarabanda (Portugal, spain) - Long second notes beats in one measure (2분음표) = Gigue (often found in Bach’s music) - compound meter dance music from England (England Dances) - Stylized → Cortraputal / Quick dance music / See the ornaments → Hemiola (Accents) = Gavotte - dance often played in the equal notes - two quarter note pickup Modern dance originated in the French = Menuet - Simple - melodic court dance - Became the most popular music in the 18th century = Bourree - A fast, lively dance, typically in 2/2 time, with a distinctive upbeat and pickups = Passepied - A quick, spirited dance, usually in ⅜ time = Rigandon - French folk dance (Lively) - minimally stylized - picked up notes = Folane (Lively, 6/8) - Italian folk dance, minimize stylized (Simple folk style) - Rando form (A-B-A-C-A-D-A-E-A from) → Repeating A sections in the piece → A section = Refrain (same music and melody) French VS Italian style ( + *Francois Couperin*) - 24 couperin concert Royeaux * Prelude* → Allemande (German dance) → measured (4/4) = Many agrements = Chamber → Arrange for whatever instruments (Flute, oboe, violin, etc) = Walking base (outline the harmony) *Courante francoise* (French Courante) - ⅔ three strong beats = two of them Italian & French = Published in the Louis 15th / Concert Royaux → Royal concert # French style (mov.3) 1. Argrements 2. dotted rhythm 3. 2분의 3박자 곡이지만, 6개로 들리는 부분 있음 (4분의 6박자, measure 3-4, 5-6) 4. A lot of syncopations 5. Metric ambiguity(feel both meters) & subtlety(교묘한) 6. Having a minor 5 chord (b7) - a lot of uses in the French music style (5-7-1) (Ambiguous harmony or b7) 7. Complex counterpoint and texture # Italin style (mov.4) 1. ¾ clear meter and rhythm 2. Sequences (Going up by step both melody lines) 3. Point of imitation of the first part, fugal 4. Faster virtuosic 5. Clear harmony (Circle of 5th, directional) - measure 22-26 / 47-49 (leading tone) 6. Fewer agrements (fixed ornaments less) 7. Have more simple texture and counterpoint than the French music style → Francois Couperin Francois Couperin (Worked through Louis XIV and XV) - Harpsichord player and a composer - He was an organist, teacher, and composer (For the court, students of keyboard major) → Harpsichord, suites, character pieces - concept of ‘mixed taste’ = Blending of French and Italian style → French(Lully) and Italian(Corelli) style = Juxtaposed - side by side, comparison = Blend in one mov. where there are stylish elements - Reuniting French and Italian ‘Les gouts reunis’ = Blending French and Italian Dietrich Buxtehude - North German organist - Toccata, prelude, eugenes, passacaglia, chorale prelude Toccata - Keyboard - free - sound improvised - mixes in counterpoint and fugal sections - counterpoint - Fugal section Fugue - Emphasizes subject entries, episodes, and counterpoint - Reflects the intellectual rigor and intricate textures valued in late Baroque music Antonio Vivaldi - Born and worked in Venice in Pieta (Pieta → most written for girls) - Violinist - 500 concertos (3 mov. → fast, slow, fast) - 21 operas - **Four seasons = representational piece → People liked representational music = depicted pictorially - Ospedale, taught orphanages (A teacher) = ‘girls’ especially learned music = Can’t perform in public (Behind the screen) = Can’t have professions in music (singers X) - 3 types of concerto = Solo Concerto (*) = Concerto Grosso (*) → A piece for a group of soloists (Concertino group, multiple) + Tutti = Orchestral concerto → An orchestra, with violin, cello, and emphasized Baroque concerto form - Concerto no longer means voices and instruments → Now means solo / group / virtuoso instrumental works with orchestra - Three mov. structure → Fast - slow - fast → Standard for concertos and sinfonia → Middle mov. will be in a similar key (relative minor) - Concerto meaning nowadays = solo / group / virtuoso / instrumental work with orchestra Concerto → Three movement structure (F-S-F) = concerto sinfonia Ritornello - Ritor - return / ello - little - Orchestra parts three themes → Different rhythms & melodies of each theme (Op.3, No.6) - Return of themes played by the Tutti - Opening Ritornello(orchestra) - Episode(soloist) - R - E - R - E *Episode = typically modulate to new keys = small group → trio sonata / Larger group → string orchestra (Chart) Concerto types - Three types of concerto 1. Solo or 1 instrument concerto 2. Concerto grosso - a piece for a group of soloists + tutti 3. Orchestral concerto - orchestra where violin and cello are emphasized Excerpt Listening De la Guerre, Pieces de clavecin in A minor - Prelude - Allemande - Sarabande - Gigue Instrumentation: harpsichord Scarlatti, Cain - “Sinfonia” Instrumentation begin with violin solo → strings are added (tutti) → lute(plucked string instrument) added to music → single voice added ~ 4:20 Tempo: Slow, descriptive → fast, free → voice added - "La fraterna amica pace" Instrumentation 2 violin duets → 2 voice duet with violins accompany (harpsichord) Corelli - Trio Sonata in D Major, Op. 3 No. 2, Movements 1 and 2 - Grave - Slow - Allegro - Fast Corelli - Violin Sonata in G Minor, Op. 5, No. 5, Movements 1 - Begin with harpsichord accompanying violin solo; slow - Move to a faster tempo Couperin, Papillons - Begin on offbeat - Harpsichord solo music Couperin, Concert Royaux No. 4 Prelude - 4/4 - Measured - Fixed ornaments (agréments) - Compare to the De la Guerre prelude - One distinguishing corellian element; walking bass to outline the other harmonies Allemande - German dance Courante Francoise - Binary form - French elements = Agréments* = Dotted rhythm* = Mixed 3/2 and 6/4 - syncopations* = Types and variants of notation = Metric, ambiguity, subtlety (not clear, vague?)* = Use of a special chromatic note; complicated counterpoint Courante à l’italienne - Italian elements = Clear meter and rhythm* = Sequences* = Fugal, point of imitation at the beginning = Faster, virtuosic = Clear harmony* = Fewer agreements = Simpler texture Buxtehude, Toccata in D Minor - Organ solo music Vivaldi, Concerto for Violin and Orchestra in A Minor, Movement 1 - Fast, expressive - Violin and tutti - No wind Vivaldi, Concerto Grosso in C Major, Movement 3 - Strings + organ + wind (flute)