Baroque Music History Lecture Slides PDF

THE BAROQUE PART I: EARLY AND MIDDLE PERIODS THE BAROQUE In music: from 1600 to 1750 “Barroco”: rough, irregular, imperfect pearl The term was not used during the period, but only by later critics and writers Originally used with a negative connotation: too much...

THE BAROQUE PART I: EARLY AND MIDDLE PERIODS THE BAROQUE In music: from 1600 to 1750 “Barroco”: rough, irregular, imperfect pearl The term was not used during the period, but only by later critics and writers Originally used with a negative connotation: too much details, excessive emphasis… In art, “baroque” was used to describe movement and motion. BAROQUE ART AND ARCHITECTURE Grander More extravagant styles Painting much more dramatic: - Stronger light and dark contrasts - More expressions and movement EUROPE IN THE 17TH CENTURY Scientific revolution: Politics, religion, and war: Thirty Years War (1618-1648) British Civil War (1639-1653) Colonialism SOCIOECONOMIC DEVELOPMENTS Capitalism Development in commerce changed societal structure that impacted on musical preferences and transmission Capitalist society facilitated the development of opera and instrumental music. Patronage State patronage instead of religious patronage Louis XIV of France Private institutions such as “academies” in major cities O MAGNUM MYSTERIUM 1587, MOTET - GIOVANNI GABRIELI (C. 1554/7-1612) O MAGNUM MYSTERIUM Two choirs alternating: antiphon Choir Soloist + instruments Text easy to understand Rhythmic simplicity Tonal (modal inflexions) Imitation Dynamics (echo) Latin THE VENETIAN SCHOOL Venice (Italy) Transition to Baroque St Mark’s Basilica Polychorality (multiple choirs) Accoustic experiment Dynamics (echo effect) Composers: Adrian Giovanni Willaert Gabrieli Andrea Cipriano de Gabrieli Rore GIOVANNI GABRIELI Venetian (c.1554/7-1612) Nephew of Andrea Gabrieli Principal organist and composer of St. Mark’s Basilica International prestige One of the first to specify dynamics (Sonata pian’ e forte) O MAGNUM MYSTERIUM Two choirs alternating Polychorality, characteristic from the Venetian School, St. Mark’s Basilica. Antiphon as a precedent of the concerto Choir Soloist + instruments Text easy to understand Following the recommendations of the Council of Trent Rhythmic simplicity The complication of harmony (more vertical, chordal design) favours simpler rhythms, to fully appreciate the harmonies Tonal (modal inflexions) Imitation Characteristic of late Renaissance, continues in early baroque Dynamics (echo) Likely inspired by the accoustic possibilities of St. Mark’s Latin The official language of the Catholic Church, religious music had to use it  I gaze upon you, I desire you, I embrace you, I enchain you; No more grieving, no more dying, O my life, o my beloved. I am yours, yours am I, My hope, tell it, tell. You are truly my idol, Yes, my love, yes, my heart, my life, yes. L’INCORONAZIONE DI POPPEA - ACT 3: PUR TI MIRO 1643, OPERA DUET - CLAUDIO MONTEVERDI (1567-1643) PUR TI MIRO PUR TI MIRO Two singers, instruments Duet + accompaniment Tonal Slow first, then fast, then slow Repeated descending bass High-pitched male part WHAT IS OPERA? A drama sung to music, staged with scenery, costumes, and action. A multimedia art form that combines many different elements, poetry, music, singing, design, acting… Libretto: the text of the opera The composer and the librettist are usually different THE BIRTH OF OPERA The first opera was produced in Florence (Italy) Camerata Fiorentina (Bardi) Italian composers sought inspiration from Greek tragedy by putting Greek mythology into music. The earliest operas: Dafne -Jacopo Peri (1598) L’Euridice - Jacopo Peri and Giulio Caccini (1600) Recitativo A style of writing for the voice invented by Peri Half singing, half reciting RECITATIVO Example: L’Orfeo - Tu se’ morta (C. Monteverdi) BASSO CONTINUO Continuous bass line with improvised harmonies Through bass, continuo One or a few instruments (usually harpsichord + violone/ cello/theorbo) Figured bass PASSACAGLIA Passacaglia and chaconne/ ciaccona Simple, repeating bass line Initially descending Variations or improvisation on top of the bass PASSACAGLIA Example: Lamento della Ninfa - II. Amor (C. Monteverdi) 1:24 CASTRATI A type of voice very popular in the baroque Quirurgical intervention: castration Selected pre-pubescent boys (~8-10) Great fame and prestige Complications: brutal practice Nowadays: countertenor CASTRATI Example: Alessandro Moreschi sings Schubert CLAUDIO MONTEVERDI Italian (1567-1643) First working as a court musician, then at church Seconda pratica: modern style, more free than Palestrina, less limitations, basso continuo Main works: Madrigals (9 books) Operas (L’Orfeo, L’Incoronazione di Poppea…) Sacred works (Vespro della beata Vergine) PUR TI MIRO In opera, the voice takes the leading role, accompanied Two singers, instruments by instruments that provide it with a background Basso continuo: played here by a small instrumental Duet + accompaniment ensemble, led by the harpsichord Tonal Seconda prattica: Monteverdi’s more modern style, more free than Palestrina’s in the treatment of the Slow first, then fast, then rhythm, harmonies, imitations… slow Repeated descending Passacaglia / Chaconne: repeated bass, over it the singers/instruments play their melody bass High-pitched male part Castrato on one of the leading roles, even though it is a male character LE BOURGEOIS GENTILHOMME - I. OUVERTURE 1670, FRENCH OUVERTURE - JEAN-BAPTISTE LULLY LE BOURGEOIS GENTILHOMME - I. OUVERTURE Two sections I. Slow, grand, dotted rhythm. Ends in the dominant II. Fast, imitation. Ends in the tonic Regular, stable metre, predictable rhythm Trills, ornaments The bass line played by more than one instrument (harpsichord, low strings) OPERA AND BALLET IN THE COURT OF LOUIS XIV Louis XIV (1638-1715): the Sun King Absolute monarchy: immense power Artists in service of the court: entertainment for the King Several genres combined: music, drama, dance LULLY AND NEW MUSIC GENRES Two main genres: Comédie-ballet (humorous, spoken word plus music and dance) Tragédie en musique (serious theme, Classical mythology, all text sung) Jean-Baptiste Lully (1632-1687): Born in Italy Worked in France, becoming secretary of the king and chief of music FRENCH OVERTURE Ouverture Opening of tragédie en musique and comédie-ballet Two-part structure: I. Slow, dotted rhythm, grandiose II. Fast, counterpoint, agile rhythms. In many cases, it will close with a brief return to the initial, slow motive LE BOURGEOIS GENTILHOMME - I. OUVERTURE Two sections I. Slow, grand, dotted rhythm. Ends in the dominant Standard form of the French overture (ouverture) II. Fast, imitation. Ends in the tonic Regular, stable metre, This type of rhythm makes it predictable rhythm possible to dance Embellishments, display of mastery and Trills, ornaments grandeur, like in baroque architecture The bass line played by more Basso continuo, the group of than one instrument instruments playing this part is (harpsichord, low strings) also known as continuo LE BOURGEOIS GENTILHOMME - MARCHE POUR LA CÉRÉMONIE DES TURCS 1670, COMÉDIE-BALLET - JEAN BAPTISTE LULLY LE BOURGEOIS GENTILHOMME - MARCHE POUR LA CÉRÉMONIE DES TURCS Regular, strong and clear rhythm Simple, repetitive melody Ornaments Dance Strange clothes ORIENTALISM The Ottoman Empire (Turkey) begins diplomacy with the West Colonialism Western people discover a different, strange culture Fascination Limited knowledge: “Turkish music” Mystification, enchantment Turkish March Exoticism as a related phenomenon LE BOURGEOIS GENTILHOMME - MARCHE POUR LA CÉRÉMONIE DES TURCS Regular, strong and clear This piece was composed for rhythm dance, it needs these features Simple, repetitive melody Typical of the Baroque period, grandeur Ornaments (embellishments, like in other arts) Dance Orientalism: attempt to portray a fascinating, mostly unknown exotic foreign culture, ends up Strange clothes Westernising it LE BOURGEOIS GENTILHOMME - BALLET DES ESPAGNOLS (SÉ QUE ME MUERO) 1670, ARIA (COMÉDIE-BALLET) - JEAN BAPTISTE LULLY LE BOURGEOIS GENTILHOMME - BALLET DES ESPAGNOLS (SÉ QUE ME MUERO) Spoken introduction Brief instrumental introduction Solo voice Light, improvised-like accompaniment Ornaments, especially on the second part The initial theme returns several times Dance Spanish THE ARIA An operatic song for a singer and accompaniment Expresses the mood/thoughts/ feelings of the character Action does not advance in the aria (it does in recitativo or spoken passages) Different forms: Binary: AB(B’) / AA’B(B’)… Rondeau: ABA’CA’’(DA…) Da capo: ABA’ LE BOURGEOIS GENTILHOMME - BALLET DES ESPAGNOLS (SÉ QUE ME MUERO) Characteristic of comédie-ballet. Tragédie en Spoken introduction musique, on the contrary, is all sung Help sets the mood for the piece and helps Brief instrumental introduction the singer get the pitch Solo voice Typical features of an aria, the solo voice Light, improvised-like takes primacy accompaniment Ornaments, especially on the second Rondeau form (ABA’CA’’). When A returns, part ornaments and improvised variations are added, in accordance with baroque practice The initial theme returns several times French Comédie-ballet and tragédie en music Dance combine music, dance, and drama Spanish Exoticism, fascination with foreign cultures (even if it is just a neighboring country!) KING ARTHUR - WHAT POWER ART THOU… (“THE COLD SONG”) 1691, ARIA - HENRY PURCELL KING ARTHUR - WHAT POWER ART THOU… (“THE COLD SONG”) Block chords in the accompaniment Protagonism of the voice Trembling sound in the voice Slow, gradual ascent, then slow, gradual descent English text Impressive RESTORATION SPECTACULAR English opera Influences from French and Italian opera Expensive, large-scale Public performance Special effects Popular with audiences, but difficult to turn profit HENRY PURCELL English, 1659-1695 Great success and fame, no English composer equaled him until the 20th century Organist at Westminster Abbey and Chapel Royal Wrote several operas: Dido and Aeneas, King Arthur, The Fairy Queen Sacred works: anthems, hyms, services Instrumental music For stage: - Incidental music (accompaniment to a play) - Operas: Dido and Aeneas, King Arthur, The Fairy Queen, The Indian Queen… KING ARTHUR - WHAT POWER ART THOU… (“THE COLD SONG”) Block chords in the Impact, shock audiences. Dry and cold chords to portray cold accompaniment Protagonism of the voice In arias, the voice takes the leading role A type of sound painting, like in the Renaissance: Trembling sound in the the music illustrates and complements the text. It also allows the singer to show off, to demonstrate voice his ability and virtuosism The text tells about the Cold Genius (the character Slow, gradual ascent, then singing) rising from the dead, and then requesting to be let back to freeze to sleep. Hell, the realm of slow, gradual descent the dead, is below, hence the rising, then falling Written for a relatively broad audience that English text spoke English Impressive A Restoration Spectacular, it had to be impressive and awe-inspiring TOCCATA SECONDA (BOOK II/2) C. 1615, TOCCATA - GIROLAMO FRESCOBALDI TOCCATA SECONDA (BOOK II/2) Solo harpsichord Virtuosic Wide range No obvious melody or theme Ornaments Lots of rhythmic liberties Different styles: homophonic, imitation, fast, slow… TOCCATA Instrumental work Toccare = to touch/play Virtuosic piece Improvisatory feel Rhythmic freedom Ornaments Full use of the possibilities of the instrument Prelude TOCCATA Instrumental work Toccare = to touch/play Virtuosic piece Improvisatory feel Rhythmic freedom Ornaments Full use of the possibilities of the instrument Prelude GIROLAMO FRESCOBALDI Italy (1583-1643) Virtuoso keyboard player Focused on instrumental music Main works: Fiori musicali (counterpoint) Toccatas and Partitas (2 books) TOCCATA SECONDA (BOOK II/2) The toccata is an instrumental work, usually for a solo polyphonic instrument (keyboard, Solo harpsichord plucked), although there are some for a small ensemble Virtuosic The toccata explores the full range of possibilities and technical capacities of the instrument Wide range The focus is not on the melody, but on No obvious melody or theme testing the whole capabilities of the harpsichord Ornaments The toccata is written in a quasi-improvised style, it is expected from the player to add Lots of rhythmic liberties ornaments and adjust the rhythm musically Exploring different styles of haprsichord Different styles: homophonic, playing, testing the instrument in one imitation, fast, slow… piece PRELUDE AND FUGUE IN F MAJOR, B UX WV145 LATE 17TH CENTURY - DIETRICH BUXTEHUDE PRELUDE AND FUGUE IN F MAJOR, B UX WV145 Two movements/pieces The first one: Virtuosic, varied, improvisation-like Fast groups of semiquavers (16th notes) All voices play all (or most of) the time The second one: Starts with one voice, others join progressively, playing the same theme Counterpoint, imitative texture Every line is mostly independent of the others Many sections only have two voices, not all voices play all the time Closing section at the very end, different from the other parts PRELUDE AND FUGUE Typical set of pieces during the baroque Most are written for keyboard instruments (organ, harpsichord) Both pieces typically on the same key PRELUDE AND FUGUE Prelude: - Free, improvisation-like piece - Serves as introduction, establishing the key - Closely related to the toccata Fugue: - Imitation, counterpoint - Main piece of the set - Highly codified procedure - Subject: main theme of the fugue, first thing played - Answer: the subject as played by the second voice, different key, sometimes a copy (real), or variation (tonal) - Theme blocks: where the subject/answer is played - Episodes: where the subject/answer is absent - Coda: the closing section, usually a bit slower, more grand THE FUGUE Example: Prelude and Fugue in e minor, P416 - Johann Pachelbel (1653-1706) 1:21 DIETRICH BUXTEHUDE Danish (1637-1707) Worked in Germany Organist at a Lutheran church Respected and admired composer (J.S. Bach, G.F. Händel, G.P. Telemann) Most important works: keyboard PRELUDE AND FUGUE IN F MAJOR, B UX WV145 Typical arrrangement in the baroque: Two movements/pieces prelude and fugue The first one: Virtuosic, varied, improvisation-like The prelude serves to establish the key and introduce the fugue. Like the toccata, it is an Fast groups of semiquavers (16th notes) improvisation-like, virtuosic piece to display the All voices play all (or most of) the time full possibilities of the instrument The second one: Starts with one voice, others join A fugue: a work of counterpoint, in this progressively, playing the same theme case in 4 voices. If asked so, you should be Counterpoint, imitative texture able to identify the subject and the Every line is mostly independent of the answer. You should be able to divide it in others thematic blocks and episodes Many sections only have two voices, not all voices play all the time Closing section at the very end, A typical coda, to finish the fugue different from the other parts