FA 323.01 - Music Appreciation I - Lecture 6: Music of the Early Baroque

Bogazici University - 2024-2025 Fall Semester 2024.11.08 FA 323.01 – Music Appreciation I Lecture 6 MUSIC OF THE EARLY BAROQU...

Bogazici University - 2024-2025 Fall Semester 2024.11.08 FA 323.01 – Music Appreciation I Lecture 6 MUSIC OF THE EARLY BAROQUE (BEG.S OF THE 17TH CENT.) Baroque Period(1600–1750) The term “baroque”: deformed pearl (1750) [around 1750, Charles de Brosses one of the most noteworthy → England French writers of the 18th century, complained that the Complete surrender to the Italian style façade of the Pamphili Palace in Rome was too much ornamented: more suitable for tableware than  Patronage architechture → he called this decorative style Helped cultivate new genres of music “baroque” → characterized a whole period of art and Many of the Europian courts maintained important architechture] centers of musical culture Church: continued to support music; but its role was Covers the music between the years 1600-1750 less important in the Baroque Era than it had been. Many cities had public associations that sponsored Music’s principal role: Move the affections - Express musical activities. or represent a wide range of feelings - Not personal ‘Paid concerts’ [Public concerts to which the audiance feelings: Affections in a general sense subscribed or paid admission were still rare] Musicians, just like the philosophers of this age, left  Literature, the arts, and sciences made this age behind old ways of thinking and expanded music to ‘magnificent’.. meet new expressive needs Literature: (England) John Donne and Milton, (Spain) Cervantes, (France) Moliere Through this process music’s emotional power Painting: (Netherlands) Rembrandt, (Spain) Velazquez, developed. (Italy) Bernini Philosophy: Bacon, Descartes, Leibniz; and Just like in music, in architecture, sculpture, and Science: Galileo, Kepler, Newton paintings, too, the forms of objects were distorted, in order to reflect the artist’s passionate vision, reflect Development of Instruments different kinds of emotions. The role of the soloist gained more importance: Development of the violin family [composers wrote for Geographical and Cultural Background violin or solo voice] → Italy Technical improvements in wind instruments => Dominance of Italian style [Italy dominated the suitable for solo performance musical thinking of this period.] Instrumental and vocal styles began to diverge From mid 16th to mid 18th Italy remained Europe’s most influential musical region [remember: started New Musical Developments with the Italian Madrigal]  The Basso Continuo Italy is split into areas (city-states) [ex. Florence: a Typical texture of the Baroque Period brilliant period of theatrical music; Rome: influence on Mostly the harpsichord, and the church organ sacred music, an important center of instrumental ‘A firm bass (the lower sound) and a florid treble (high music; Venice: became center of the opera] sound)’ → France  Wilhelm Friedemann Bach - Keyboard Sonata in E flat. Could not entirely escape the Italian influence II Largo, III Presto (this is how the harpsichord sounds like) Its own national music emerged around 1630 [ironically, the composer who helped most to establish  Handel - Alcina - Verdi Prati (hear the basso continuo – the national style was Jean Baptiste Lully, who was a the harpsichord) Florentine brought to France at age 13 to help a noblewoman speak Italian!] Imitative Counterpoint Imitative Counterpoint had its most popular and → Germany triumphic time in the Baroque Period. Thirty Years War (1618-48): Weakened musical culture Second half of 17th century: Built their music on Italian Major and Minor Tonalities style The ancient church “modes” left their places to the Johann Sebastian Bach: a resurgence [yeniden “major-minor system”, which evolved gradually güçlenme]; owed much to Italy [the art of Bach owed a through musical practice lot to Italy] Handel: Handel’s work was as much Italian as German. 1 Bogazici University - 2024-2025 Fall Semester 2024.11.08 FA 323.01 – Music Appreciation I Lecture 6 Early Opera Opera (in a very large sense): a drama set to music (with ❖ Claudio Monteverdi (1567-1643): an orchestra, soloists, a chorus, costumes, and scenery) “L’Orfeo” (1607), a five-act opera by Monteverdi: The earliest opera which is still regularly performed. Music with drama goes back to ancient times Monteverdi imitates the recitative style developed by Ancient Greek: some lyric speeches in Sophocles or Peri. Euripides were sung He used a large and varied orchestra in his opera L’Orfeo. Middle Ages: Liturgical Dramas (biblical dialogues) Renaissance: Imitated Greek models  L' ORFEO- Favola in Musica (Claudio Monteverdi) A forerunner of the opera: Intermedi Opera by Italian cities... Interludes between acts (between acts of a comedy or The Florentine Court (Florence) tragedy) The Florentine Court prefered ballets (theatrical Choruses, soloists, large instrumental ensembles performance featuring dance movements), masques (like the French court ballet; has both dances and songs), and Some terminology intermedi for entertainment in weddings. For an opera we need a poet-writer and a composer. Operas and ballets(as early as 1607) Libretto: the text of the opera Librettist: the writer of the libretto Rome Monody: Embraces all the styles of solo singing. No opera until 1620 Recitative style: Recitative (from a word meaning: “to 1623: Pope became sponsor of opera recite” i.e. “to tell”) was sung quickly, almost as if it Librettos: Mostly mythological subjects were being spoken (between speech and song): a Sacred, serious and comic operas; also pastoral operas speechlike freedom; the effort to imitate speech. The Comic opera began its independent career in Rome singer was accompanied just by a few Italians allow comic episodes in serious drama supporting chords, usually on a harpsichord. The story was being told in the recitative. Once the situation in Venetian Opera the story had changed there would be an aria. (Venice became the center of the opera) Aria style: An aria is a long song accompanying a solo In Venice opera flourished to a great extend. voice and is more melodious and lyrical than the Venice was an ideal place for the opera: recitative. With an aria action stops and the singer expresses his or her feelings. “Aria” is an Italian word of Social Conditions in Venice: the 18th century meaning “air” (i.e. a tune). ❖ Venice was an independent city. ❖ It was the most important city of the Italian peninsula The Earliest Operas: (next to Rome) ❖ The Church of St. Mark was the center of Venetian ❖ Jacopo Peri (1561-1633): musical culture and this church was independent like The first work in the opera genre was “Dafne”, music Venice itself. (the music in St. Mark was controled by by Jacopo Peri, libretto by Ottavio Rinuccini(1562-1621), officials of the state) first performed during Carnival of 1598 in Florence at ❖ Venetians took their religion more easily the Palazzo Corsi. ❖ Venice had its reputation for freedom from religious and The earliest surviving opera is “Euridice” (1600) by Peri. social restraints. (The music of Dafne was mostly lost, later completed by Every year there was the Masked Carnival in Venice. So, Jacopo Peri and Jacopo Corsi, the leading patron of people came to Venice at the times of the Carnival, thus a music in Florence.) diverse audiance was created. Peri became associated with Jacopo Corsi In the 1590s. “Andromeda”(1637): admitted the ‘paying public’ (a low- They believed contemporary art was inferior to budget operation). First opera performed outside court or classical Greek and Roman works, and decided to private theaters. attempt to recreate Greek tragedy, as they understood Rich tradesmen built and supported theaters it. Their work produced the first experiments Anyone could rent a seat in monody, the solo song style over continuo bass, Multiple performances of a work during a season which eventually developed into recitative and aria. Along with mythological themes, heroic Thus we can say, it was Jacopo Peri who developed the librettos(concerning heroes of the Crusades). This recitative style. resulted in the improvement of stage effects Lyrical arias and duets: Developments in aria singing => bel canto Large orchestras 2 Bogazici University - 2024-2025 Fall Semester 2024.11.08 FA 323.01 – Music Appreciation I Lecture 6 Vocal Music Apart from the Opera Outside Venice, opera was extraordinary…  The Concertato Medium concertare(it.): to reach an agreement In a musical concerto, contrasting forces are brought together in harmony. 17th century concertato medium: The contrasting forces are human voices and instruments, that are playing independent parts. Basso continuo present. (as in almost all Baroque compositions)  Genres of Vocal Solo Music(Monodies): From the beginning of the century, Italian composers composed thousands of monodies (far more widely known than the operas) The operas were performed very few times for restricted audiance, but monodies and music for small ensembles were sung everywhere! Cantata: In Italian it means “to be sung”. It is a composition for solo voice and basso continuo. It has a lyrical and quasi- dramatic text, and includes both recitatives and arias. (it’s like a general definition for solo songs accompanied by the basso continuo) Composers in other countries produced songs of national character. So, vocal music in the early 17th century appeared in many forms and styles, and combined elements of many musical styles, like the concerto, dance songs, national idioms, dramatic recitatives and bel canto arias. Genres of Catholic Church Music Influences on Church Music → The Concerto for Few Voices Sacred music was largely affected by the innovations One, two or three solo voices sang to the in the secular music styles accompaniment of an organ continuo. Since all changes occur gradually, along with the new church music styles, the Palestrina style (the old style) → Oratorio also continued. Like a sacred opera, not intended to be staged. Differences form the opera: The New Church Music Styles (under the effect of the  subject matter is sacred innovations in secular music):  narration is included  not staged → The Grand Concerto  chorus used for dramatic, narrative and imitative Sacred works for huge groups of singers and players, purposes. with a continuo, usually the organ. Sometimes these concertos reached immense proportions. (ex: Masses for more than four choruses) Lutheran Church Music Heinrich Schütz(1585-1672) Greatest German composer of the mid-17th century. Spanned the musical styles of northern and southern. Composed the first German opera: “Dafne” (1627). It is an adaptation of the libretto written by Rinuccini for Peri’s opera Dafne. (remember: “Dafne” by Jacopo Peri is first opera in history of music.)  Schütz - “O Susser O Freundlicher” 3 Bogazici University - 2024-2025 Fall Semester 2024.11.08 FA 323.01 – Music Appreciation I Lecture 6 Instrumental Music In the first half of the 17th century, instrumental music became equal, both in quantity and content, of vocal music. Vocal music affected instrumental music: → The Sonata The Sonata was sometimes called Sonata da chiesa,  The effect of the recitative and aria styles: The Sonata since many such pieces were intended to be played “in of the early 17th century emerged. It consisted of one or church”. two melody instruments and a basso continuo. The Sonata style developed later in history. → Theme and Variations Sets of variations on a short musical piece.  The effect of the basso continuo: The Basso Continuo Composing in this manner is called “Theme and had the major impact on instrumental music. In every Variations form” instrumental music, just like the vocal music, there was Before the word “Variation”, the word “Partite” the continuo. (divisions or parts) was used. Categories of Instrumental Music: → Suites The Variation principle permeated many instrumental → The Fugal Style genres of the 17th century. One of these genres was A composition for organ or clavier the sets, or “Suites” of dances. One theme is continuously developed with imitation. It The Suite is a German phenomenon. is the continuous imitation of a theme: fugal imitation. The main theme and tonality provides a connection Taking a theme and imitating it is a basic between the dances of the suite. characteristic of music in the Baroque Era. Allemande, Courante, Sarabande, Gigue were the fixed dances in every suite.  Pachelbel - “Canon For Three Violins And Cello” Additional dances may also be present.  Bach - “French Suite No.3 in B minor, BWV 814” – Allemande, Courante, Sarabande, Menuett-Trio, Anglaise, Gigue SUMMARY  The term “baroque”: deformed pearl  Music’s principal role: Move the affections - Express or represent a wide range of feelings - Not personal feelings: Affections in a general sense  Dominance of Italy  The role of the soloist gained more importance  Development of the violin family  The Basso Continuo  Imitative Counterpoint  Major and Minor Tonalities  Opera – Venice  Different vocal styles emerged (ex. recitative, aria, bel canto, concertato medium, cantata)  Church music is affected (ex. the Grand Concerto, Oratorio)  In the first half of the 17th century, instrumental music became equal, both in quantity and content, of vocal music.  New instrumental styles emerged (ex. sonata, fugal style, theme and variations, dance suites) 4 Bogazici University - 2024-2025 Fall Semester 2024.11.15 FA 323.01 – Music Appreciation I Lecture 7 BAROQUE ERA / lecture 2 Opera and Vocal Music in Late 17th Century Opera ITALY: Venice: As opera spread to other countries, the principal center of opera remained Venice. The opera houses of Venice were famous all over Europe. Singers and arias were important. The concert organizers competed for the most popular singers. Librettists responded to the demand of arias. It was common to have two dozen arias in an opera. Venetian opera was exported, especially to Germany. Many Italian composers brought Italian opera to other countries. Naples: Alessandro Scarlatti (1660-1725) o Italian Baroque composer o Famous for his operas and chamber cantatas o Founder of the Neapolitan School of opera (a group of 18th century composers (associated with opera) who studied or worked in Naples.) o “It is with the Neapolitan school...that the History of Modern Music commences—insofar as that music speaks the language of the feelings, emotions, and passions.” - Schluter, Joseph (1865). A General History of Music, p.47. R. Bentley o Alessandro Scarlatti is the father of Domenico Scarlatti (1685-1757) and Pietro Filippo Scarlatti (1679-1750), two other composers.  A.Scarlatti – “Tigrane” (three-act opera seria) – 'Che pensare' FRANCE: Jean-Baptiste Lully: (1632-1687) He is the inventor of French opera. Two traditions influenced the French opera: the ballet & the classical French tragedy French opera was the union of drama, music and ballet → ‘tragedie lyrique’ He mostly worked with the librettist Jean-Baptiste Moliere → “Les Comédies Ballets” (ex. “Le Bourgeois gentilhomme”) Comédie ballet: French drama which mixes a spoken play with interludes containing music, dance and singing. His orchestra: “vingt-quatre violons du roi”  J.B.Lully-Moliere – “Le Bourgeois gentilhomme” (five-act comédie ballet) – ‘Marche Pour la Cérémonie des Turcs’ The ‘Ouverture’ (the French Overture) In the Baroque Era; overtures were used to introduce ballets, operas, oratorios, and also some instrumental pieces. The French “ouverture” was also used to welcome the king to a dance or performance ENGLAND: The Masque A form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe. A masque involves music and dancing, singing and acting, within an elaborate stage design, in which the architectural framing and costumes might be designed by a renowned architect, to present a deferential allegory flattering to the patron. Henry Purcell (1659-1695) One of the greatest English composers Though he incorporated Italian and French stylistic elements into his compositions, his legacy was a uniquely English form of Baroque music. No later native-born English composer approached his fame until Edward Elgar, Ralph Vaughan Williams, William Walton and Benjamin Britten in the 20th century.  Henry Purcell – “The Fairy Queen” (masque) 1 Bogazici University - 2024-2025 Fall Semester 2024.11.15 FA 323.01 – Music Appreciation I Lecture 7 GERMANY: Hamburg: The most important center of opera in Germany. The first public opera house outside Venice was opened in Hamburg in 1678. Singspiel: The German version of the opera. Songs distributed among spoken dialogues. (Later they replaced the spoken dialogues with recitatives of Italian style.) Vocal Music Apart from the Opera ITALY: The Cantata: A genre consisting of many short, contrasting sections. It consists of alternating patterns of recitatives and arias. The cantata is for solo voice and continuo accompaniment. In Italy a lot of cantatas were produced. Scarlatti had more than six hundred cantatas.  A.Scarlatti – 'Christmas Pastoral Cantata' Concerning solo songs, there was Italian influence in France and Germany. However the English composers did not owe a lot to Italian style in their songs. FRANCE: Secular cantatas and sacred oratorios in Italian style. ENGLAND: Henry Purcell and John Blow (1649-1708) composed many songs for solos, duets and trios. GERMANY: Composers wrote songs on both sacred texts and secular cantatas (in Italian and German). Church Music Composers wrote both in the old style (the Palestrina-style), and in new style. They used features of the Baroque Era, like solo singing, the basso continuo, the concertato medium. Some Masses resembled operas (with arias and concertizing instruments). More instruments were involved. (It was common to use as many as 100 instruments on a Saint’s day, including trumpets and trombones, and a large string section.) Oratorios were no longer performed only in churches; they were also presented in palaces of princes and cardinals, in academies, and performed as a substitute of the opera when theaters were closed. 2 Bogazici University - 2024-2025 Fall Semester 2024.11.15 FA 323.01 – Music Appreciation I Lecture 7 Instrumental Music in Late Baroque Period Before, the instrumentation was left to the decision of the performer. In other words, it was the performer who decided which instrument to use. Now, the composers wrote for specified instruments. And thus, they could write according to the characteristics of the instrument. So we can say in general that, Baroque composers no longer ‘wrote for parts’, They wrote for ‘specific instruments’. Organ Music Toccata – Fugue form A free section (the Toccata) followed by a rhythmic strictly imitative section (the Fugue) These kind of compositions could also have the names Prelude – Fugue or Fantasie – Fugue.  J.S. Bach – Toccata and Fugue for Organ BWV565 in D minor Harpsichord and Clavichord Music Theme and Variations: (recall) A theme followed by a set of variations. Suite (or Partita): (recall) A set of dances. The keyboard suite in Germany assumes four standard dances (Allemande, Courante, Sarabande, Gigue). Other kinds of dances can be added to the suit. The Keyboard Sonata: Most early sonatas were written for ensembles (a group of instruments).  Domenico Scarlatti – Solo Keyboard Sonata in D minor K9 Ensemble Music The Ensemble Sonata: The typical instrumental sonata has several sections or “movements” in contrasting tempos and textures. Sonata da chiesa (church sonata) was a mixture of such movements, including dances. Sonata da camera (chamber sonata) was a suite of dances. Arcangelo Corelli (it.) (1653-1713) has beautiful examples of violin sonatas. Other composers of sonata: Handel in England; Muffat in Megève (now in France); Buxtehude in Germany; François Couperin in France.  Arcangelo Corelli – Sonata da Chiesa (violin sonata (violin and continuo)) Opus 5 No.2 in B flat Major  Arcangelo Corelli – Sonate da Camera (two violins and continuo) Opus 2 No.2 in D minor  Dieterich Buxtehude – Trio Sonata (two violins, viola da gamba and continuo) in C Major BuxWV 266 Performers in the Baroque Era always added to what the composer had written. They improvised. The most popular improvisation tools were the ornaments. These ornaments were not only decorative, they were a way for ‘moving the affections’. 3 Bogazici University - 2024-2025 Fall Semester 2024.11.15 FA 323.01 – Music Appreciation I Lecture 7 Orchestral Music Earlier, there were no distinctions between ‘chamber music’ and ‘orchestral music’. Composers did not express their preferences, and the choice depended on the circumstances. For example, an orchestra could play a sonata for three instruments, if the size of the auditorium was suitable. Toward the end of 17th century, a distinction between chamber music and orchestral music became apparent. The Orchestral Suite: This genre flourished in Germany. However, later it was named the French overture. J.P. Lully’s German followers introduced the French standards of playing. And one result of this was the orchestral suite. The dances of these suites were from the dances of the French ballets and operas. It was in the form of the French overtures. The Concerto: This was a new kind of orchestral style late 17th century. Solo concerto: Contrast between a large group of instruments and a solo instrument (or two). Concerto grosso: Contrast between a small ensemble of intruments and the large ensemble (the orchestra). The large ensemble was almost always a string orchestra. The string orhcestra is the typical Baroque orchestra. (recall: improvement of the violin family in the Baroque Era). The solo instruments were also usually strings or keyboard instruments. Sometimes wind instruments were added or substituted. Two Italian important concerto composers of that time were Arcangelo Corelli and Giuseppe Torelli. Arcangelo Corelli (1653-1713) An Italian violinist and composer of the Baroque Era His music was key in the development of the modern genres of sonata and concerto, in establishing the superiority of the violin, and as the first coalescing of modern tonality and functional harmony. Giuseppe Torelli (1658-1709) An Italian violist, violinist, teacher, and composer He is most remembered for contributing to the development of the instrumental concerto, especially concerti grossi and the solo concerto, for strings and continuo, as well as being the most prolific Baroque composer for trumpets.  Arcangelo Corelli – Concerto Grosso Op.6 No.10 – Courante  Giuseppe Torelli – Trumpet Concerto – Allegro Two famous Italian composers of concerto following Torelli were Tomaso Albinoni and Antonio Vivaldi. Tomaso Albinoni (1671-1751) An Italian Baroque composer Though he was mostly famous for his operas during his lifetime, he is mainly remembered today for his instrumental music, such as the concerto. Antonio Vivaldi (1678-1741), whom we will learn more about in our next lecture, is considered to be the master of the Italian concerto in Late Baroque period.  Tomaso Albinoni* – “Adagio” for solo violin, strings and organ continuo  Antonio Vivaldi – “The Four Seasons” (a set of four violin concertos) – “Spring” 4  Bogazici University - 2024-2025 Fall Semester 2024.11.22 FA 323.01 – Music Appreciation I Lecture 8 Music in the Early 18th Century Vivaldi, Rameau, Bach, and Handel In the early 18th Century two styles of music could be heard: The Baroque style (independent voices (very contrapuntal), theme and variations, many ornaments), and the Pre–Classical style (easy to listen to; fluent; simple; melodious). Venice: Though declining in political power and headed for economic ruin, it still remained the most glamorous city in Europe. It was full of travelers, especially musicians, attracted to its colorful, exubarent life. There were no “classics”. Composers were expected to compose new music all the time. Most of the 18th century composers wrote numerous works, and they wrote in a very fast speed. [They wrote for a definite occasion or a particular company of performers.] ANTONIO VIVALDI (1678-1741) (it) He educated both for the priesthood and music. Vivaldi’s Concertos: [“il prete rosso” (the red-headed priest)] His orchestral works, especially concertos, have a Traveled a lot, conducting operas and concerts freshness of melody. throughout Italy and Europe. Most of his concertos are for solo instrument and The Pieta was one of the famous religious orchestra; most for violin (ex. “The Four Seasons” conservatories founded in Venice and Naples. It was Violin Concertos) run like a convent (a Christian community of nuns There are also solo concertos for cello, flute, and living together under monastic vows), and provided basoon; concertos for two or four violins; concerto excellent musical training for its young students – a grossi; and concertos for solo instrument and very favorable environment for Vivaldi. continuo. Vivaldi was expected to compose new oratorios and Form of the concertos: Fast–Slow–Fast three concertos for every recurring festival at the Pieta. movement form. He is mostly known for his orchestral works, Vivaldi was the first composer to make the slow especially concertos. movement as important as the other movements. His fame was not limited with his own city or country. He composed more in Pre-Classical style. His Influence: Vivaldi’s music parallels the stylistic changes of the 18th century. (recall: He composed in Pre–Classical style) He influenced intrumental music in the mid- and late-18th century. ♫ Vivaldi – Oboe concerto in C Major. 1st movement JEAN-PHILIPPE RAMEAU (1683-1764) (fr) He was unknown before the age of 40. His reputation was more as a theorist than a Rameau was the most important French composer of composer. His famous music theory book is “Traité de the 18th century. l’harmonie” (Treatise on Harmony). He was a solitary, argumentative, unsociable person; His Clavecin pieces were mostly known. yet an honest and intelligent artist. ♫ Rameau – Gavotte, a clavecin piece 1 Bogazici University - 2024-2025 Fall Semester 2024.11.22 FA 323.01 – Music Appreciation I Lecture 8 JOHANN SEBASTIAN BACH (1685-1750) (de) He is known as ‘the god of music’. J.S.Bach composed in rich Baroque style, that is, He was a very religious person (Lutheran). independent voices are very clearly heard; the music is He dedicated a book of church music – chorale highly contrapuntal (equality of voices), and there are preludes – to “the Most High God”; he inscribed with many imitations and variations. the letters “J.J.” (Jesu, juva – Jesus, help) at the He had a French–Italian–German blend in his beginning, and “S.D.G.” (soli Deo gloria – glory be to compositions. God alone) at the end. He composed mostly clavier music (for organ, He did not differentiate between sacred and secular harpsichord, and clavichord). art, both being “to the glory God”; he sometimes used Bach also made a lot of arrangements. He read scores the same music with sacred and secular words. of many Italian, German and French composers and He was a violonist and organist, also Konzertmeister had arrangements mostly for the keyboard. of big churches. Because he was pressed with time, he also re-used his Bach composed mostly in German cities, of which the own melodies. most known is Leipzig (1723-1750). His works are mostly in ‘collections’ (ex: “The Well He composed in all the genres, forms, and styles of his Tempered Clavier”, “The Art of Fugue”, “Little Organ time. Book” etc.) In many of his works, he had a pedagogical aim – he had his pupils in his mind while composing. (ex: “Keyboard–Exercises”, “The Little Organ Book”. In the Little Organ Book, a beginner organist is given guidance in all sorts of ways to develop a chorale, or improving his pedaling technique.) Bach’s Instrumental Musıc THE ORGAN WORKS: The Preludes–Fugues: (recall) It is the combination of a prelude (or toccata or fantasia) and a fugue. Organ Sonatas: Six sonatas for organ solo, composed for his son Wilhelm Friedmann. The movements are fast–slow–fast, just like Vivaldi’s concertos. The Chorale Settings: As an organist and a devout Lutheran, Bach deeply cared about the chorale. He has composed 170 organ chorales, and has exhausted all kinds of settings for the chorale. (Ex1.) “The Little Organ Book” contains short chorale preludes. (Ex2.) There are collections of chorales during Bach’s Leibzig period. They contain all kinds of chorale settings: variations, fugues, fantasias, trios, and extended chorale preludes etc. His later chorales in grander proportions than The Little Organ Book. THE HARPSICHORD AND CLAVICHORD MUSIC: The Toccatas: Bach’s greatest work in this genre is “The Chromatic Fantasia and Fugue” ♫ Bach – ‘The Chromatic Fantasia and Fugue’ in D minor The Well Tempered Keyboard: 24 prelude-fugue pairs, in every major and minor key!! With this work, Bach wanted to demonstrate the possibility of using all keys with that time’s nearly equal tuning of the keyboard. Thus, here too, we can see that there is a pedagogical intention. ♫ Bach – ‘The Well Tempered Keyboard’ Prelude No:11 in F; Fugue No:11 in F 2 Bogazici University - 2024-2025 Fall Semester 2024.11.22 FA 323.01 – Music Appreciation I Lecture 8 The Harpsichord Suits: Three sets of six suites: English Suites, French Suits, the six Partitas. The designations “French” and “English” are not Bach’s own. (recall) The standard movements of the suite are Allemande, Courante, Sarabande, and Gigue. Works for Solo Violin and Cello: Bach has composed various partitas, suites and sonatas for solo violin, or solo cello, or solo flute.  Bach – BWV 1007 – Cello Suite No.1 in G (solo cello) Ensemble Sonatas: Bach has written many ensemble sonatas such as sonatas for violin and keyboard, viola da gamba and keyboard, flute and keyboard, and likewise. He has also composed trio sonatas such as sonatas for two violins and keyboard; flute, violin and keyboard; two flutes and keyboard; oboe, violin and harpsichord; and likewise.  Bach – BWV 1017 Violin Sonata No.4 in C minor (ensemble sonata) ORCHESTRAL WORKS: Concertos: The famous six Brandenburg Concertos (I and VI are concertos without solo instruments, the others are concerto grossi). The harpsichord concertos. ♫ Bach – Brandenburg Concerto No.2 in F. I-Allegro (fast, quickly and bright), II-Andante (at a walking pace)  Bach – BWV 1065 Concerto for Four Pianos – Pianists: Argerich, Kissin, Levine, Pletnev The Orchestral Suites: Bach has four orchestral suites (or ouvertures) Innovation: Trumpets and timpani added to the strings and winds → for out-door performance. Bach’s Vocal Musıc In Leibzig, Bach was responsible for the music at the Motets: two most important churches (St. Nicholas and St. In Bach’s time, the word motet signified a composition Thomas). for chorus, generally in contrapuntal style, on a biblical For the daily services in all churches, he had to or chorale text. compose endlessly. For example, in a regular Sunday There are six surviving motets of Bach. service, there was a motet, a Lutheran Mass, hymns, and a cantata; with many choirs and singers. (recall: Passions: composers in the Baroque Era are expected to A Passion is a semi-dramatic musical setting on a compose all the time) biblical event, such as Christmas. The two surviving Passions of J.S.Bach are St. John Cantatas: Passion and St. Matthew Passion (in oratorio style, Recall: The Cantata is a type of monody singing, that is, there is narration). consisting of many short, contrasting sections (alternating pattern of recitatives and arias). J.S.Bach had Church cantatas (sacred); Neumeister ♫ Bach – from St. John Passion “Johannes Passion” cantatas (sacred); Chorale cantatas (cantatas based on 02 - Choral “O grosse Lieb, o Lieb ohn' alle Masse” (choral) chorale melodies – sacred); and secular cantatas. 03 - Arie “Von den Stricken meiner Sünden” (soprano solo) ♫ Bach – The Coffee Cantata (secular) 3 Bogazici University - 2024-2025 Fall Semester 2024.11.22 FA 323.01 – Music Appreciation I Lecture 8 Mass in B Minor: Bach compiled a Mass between 1747 and 1749, mostly from music he had composed earlier. Bach usually reworked his earlier compositions for new situaitons because he was pressed for time. ♫ Bach – from Mass in B minor “Missa BWV 232” – Gloria, Cum Sancto Spiritum The Initials “BWV”: The initials “BWV” in Bach’s works stand for “Bach-Werke-Verzeichnis (Bach Works Catalogue)”. The works are grouped thematically, not chronologically. This catalogue was initiated and published by the German musicologist Wolfgang Schmieder (1901-1990) in 1950. The Aftermath...  Bach’s most works were handwritten.  J.S.Bach was quickly forgotten after his death because musical taste changed radically in the middle of the 18th century. During the years he composed his most important works (1720s and 1730s), a new style coming from the opera houses of Italy invaded Germany and the rest of Europe, making Bach’s music seem old-fashioned.  But this decline of Bach’s music was not total. Some works appeared in print; Haydn had the score of Mass in B minor, Mozart knew The Art of Fugue etc.  A fuller discovery of Bach began in the 19th century.  The publication of his biography in 1802 marked an important step;  St. Matthew Passion was performed;  Felix Mendellsohn found J.S.Bach’s scores;  The establishment of the Bach Gesellshaft (Bach Society) in 1850 led to the collected edition of Bach’s works. It was completed by 1900. GEORGE FRIEDRICH HAENDEL (1685-1759) (de-eng) (George Frideric Handel) Compared to Vivaldi, Rameau, and Bach, Handel Instrumental Works: traveled a lot, in German-, Italian-, and English- speaking cities. Suites and Sonatas: He matured as a composer in England and became a Suits for harpsichord citizen of England when 42. He changed his name to Solo and trio sonatas “George Frideric Handel”. [England was the most hospitable country to foreign composers.] Orchestral Works: Despite repeated failures, Handel continued to Handel’s most significant instrumental works are compose operas. However, he became famous for his those for full orchestra. Ex. overtures to his operas oratorios, which were based on English choral and oratorios; two suites knowns as “Water Music” tradition. and “Music for the Royal Fireworks”; concertos for His style was international. He did not represent any woodwinds and strings; concertos for harpsichord (or particular country’s style. His compositions had an organ); and concerto grossi. international character. “Water Music” : He composed the suite of pieces for Handel also used new-style devices. He adopted wind instruments and strings, published under the title devices that became important in the new-style of the “Water Music”, to be played as a surprise for the king mid-18th century: Emphasis on melody and harmony. of England during a boating party at the river Thames. He was satirized as a glutton and a tyrant. The legend is that he regained favor with this occasion. Water Music is the most famous instrumental work of Handel’s. ♫ Handel – from Water Music, ‘Menuet’ 4 Bogazici University - 2024-2025 Fall Semester 2024.11.22 FA 323.01 – Music Appreciation I Lecture 8 Vocal Music: Oratorios: Handel’s oratorios appealed to middle-class audiance, since there were less expenses and thus it was cheaper. Handel’s oratorios are more theatrical and are performed in concert halls. All biblical oratorios are based on the Old Testament (ex: Messiah, Saul, Israel in Egypt, Judas Maccabaeus, Joshua) He also has mythological (ex: Hercules) and allegorical oratorios (ex: The Triumph of Time and Truth) ♫ Handel – Messiah Oratorio: ‘Rejoice and Hallelujah’ Operas: Handel is mostly known for his oratorios. His operas were failures. Nevertheless, he insisted on operas and devoted 35 years to operas. One aria from his 1711 opera “Rinaldo” became very popular: “Lascia ch'io pianga” ♫ Handel – the soprano aria “Lascia ch'io pianga” from the opera “Rinaldo” DOCUMENTARY: BBC Sacred Music Series Episode #4 – “Bach and the Lutheran Legacy” 5 Bogazici University - 2024-2025 Fall Semester 2024.11.29 FA 323.01 – Music Appreciation I Lecture 9 Early 18th Century: OPERA, SONATA, SYMPHONY The Enlightenment  challenged established systems of thought and behaviour  individual rights  all people are equal => inequalities between the condition of the common people and the privileged class; wanted class privilege to disappear  development of a person’s inner capacities  reason and knowledge could solve social and practical problems  scientific discoveries  religion: valued individual faith and morality rather than the church as an institution → focus on Human  philosophy and science: based on reasoning from experience and observation → “Age of Reasoning”  everything was judged according to its contribution to the well-being of the individual.  the French philosophers: were truly social reformers → reacted to the conditions they saw around them and promoted social change → pre-Revolutionary (1789-1799) (paintings and architecture examples from the Age of Enlightenment) 18th Century Life  a cosmopolitan age partly marriages between powerful families foreign-born rulers – German kings in England, Sweden, and Poland; a Spanish king in Naples; a French duke in Tuscany; a German princess as empress of Russia intelectuals and artists traveled freely In Music: German symphony composers active in Paris; Italian opera composers and singers worked in what is now Austria and Germany, in Spain, England, Russia, and France.  a humanitarian age  Freemasonary: humanitarian rights, universal brotherhood  pursuit (work) of learning and the love of art  expanding middle class  philosophy, science, literature, and the fine arts all began to address a general public  public concerts – concert series  music publishing for amateurs – periodicals 18th Century Musical Taste  the language of music should be universal – not limited by national bounderies  music should be noble as well as entertaining  it should be expressive within the bounds of dignity  it should be “natural” – free of needless technical complications, and capable of pleasing any listener  gradual shift => both the old-style (Baroque) and the new-style existed Some terminology Several terms for the styles that flourished in the beginnings of the Classic period (around 1730):  classic (classical):  applied most narrowly to the music of Haydn and Mozart, more broadly to music from 1720s to 1800  the general musical taste of the 18th century.  Gluck, Haydn, and Mozart: “Viennese School”  rococo:  originally described a style of architecture in post-Renaissance period – soften the angular forms with refined ornaments (especially in France at the end of 17th century)  used for some music of early decades of this period (examples: Rococo paintings) 1 Bogazici University - 2024-2025 Fall Semester 2024.11.29 FA 323.01 – Music Appreciation I Lecture 9  galant: (fr)  widely used for the courtly manner  generally used for everything that was considered modern, smooth, easy, and sophisticated  French artists: Fête galante- elegant entertainment. A term used to describe the subjects of the paintings of Watteau and his followers in which elegant young men gracefully court fashionably dressed young women in park-like settings.  emphasis on melody (short, often repeated motives) (examples: Galant paintings)  empfindsam: (de)  derived from the verb empfinden: to feel => “sensibility” or “sentimentality”  subjective, emotional qualities  passion and melancholy; multiplicity of rhythmic patterns, nervously and constantly changing; sudden changes of mood; element of surprise  typifies slow movements  sons of Bach OPERA Many of the new styles of the Classic period had their origin in the Italian musical theater of the first decades of 18th century. Early Italian Comic Opera  Opera buffa * Served as a moral purpose: caricaturing the foibles (weaknesses) of aristocrats and commeners, vain ladies, miserly old men, etc. * Comic characters sung in a dialect * Complemented by a number of serious characters  Intermezzo * originated in the custom of presenting short comic musical interludes between the acts of serious opera or plays * situation comedies involving a few ordinary people * Giovanni Pergolesi (1710-1736) (early master of the intermezzo) “La Serva Padrona” (The Maid as Mistress) – two act buffa intermezzo in one of his opera seria.  Pergolesi – from “La Serva Padrona” 1) Sempre in contrasti 2) Stizzoso mio stizzoso 3) Duetto finale Opera Seria  treated serious subjects, clear of comic scenes and characters  teach lessons and send messages to the public  peak of this serious style was reached with the libretti of the Italian poet Pietro Metastasio (1698-1782) – promote morality, and present models of merciful and enlighted rulers  Johann Adolph Hasse (1699-1783): the great master of the opera seria – sweet and tender melodies  from “Artaserse” (opera seria by Hasse, libretto by Metastasio) – “Son Qual Nave Ch'agitata” composed by Riccardo Broschi performed by “Farinelli” (Carlo Broschi) Artaserse: Artaserse is the name of a number of Italian operas, all based on a text by Metastasio. Artaserse is the Italian form of the name of the king Artaxerxes I of Persia. There are over 90 known settings of Metastasio's text. One of these settings was by Johann Adolph Hasse in 1730 for Venice and in 1760 for Naples. The opera was famously performed in 1734 as a pastiche, featuring songs by various composers such as Johann Adolf Hasse, Attilio Ariosti, Nicola Porpora and Riccardo Broschi. It was in this that Broschi's brother, Farinelli, sang one of his best-known arias, "Son qual nave ch'agitata". (In music, a pasticcio or pastiche is an opera or other musical work composed of works by different composers who may or may not have been working together, or an adaptation or localization of an existing work that is loose, unauthorized, or inauthentic.) 2 Bogazici University - 2024-2025 Fall Semester 2024.11.29 FA 323.01 – Music Appreciation I Lecture 9 Comic Opera  opera seria maintained its character across national  FRANCE boundaries; while comic opera took different forms in * Opéra comique (light opera) different countries * In the first half of the century, it was a lowly form of  represented everyday people in familiar situations entertainment; mostly consisted of popular tunes  librettos: in national tounge * In 1752, a visit of an Italian comic opera troop caused a  national musical idiom mixed Italian-French style  grew in importance after 1760; before end of century. * Following the European trend in the second half of the century, this opera dealt with social issues (the pre-  two historical importance: Revolutionary years). 1) responded to the widespread demand of naturalness in the second half of 18th century  ENGLAND 2) earliest passage toward musical nationalism (became * Ballad opera popular in the Romantic period) * mostly consisted of popular tunes – usually ballads * the only notable composer in the 18th century is Thomas  ITALY Augustine Arne (1710-1778) * Opera buffa became Dramma giocoso * Italian comic opera improved a lot in the 18th century –  GERMANY Mozart will later make good use of its heritage of comic, * Singspiel serious, and sentimental drama mixed wih a lively musical * Became German song collections, and with time became style. folksongs * Singspiel was an important forerunner of German- language opera of Mozart and Weber. Beginnings of Opera Reform  Comic Opera and Opera Seria seemed unnatural.  Opera seria → the singing in was devoted to superficial effects, the content was uninteresting and old, the music of the vocal lines was so decorated that audiences could no longer recognise the original melody.  Comic opera → was losing its original freshness, its jokes were overused and dull, the repetition of the same characters made them seem like stereotypes. Christoph Willibal Gluck (1714-1787):  Gluck wanted to return opera to its origins, focusing on human drama and passions, and making words and music of equal importance.  He aimed to combine the French tragédie lyrique and the Italian opera seria  Gluck achieved a synthesis of French and Italian opera  “a beautiful simplicity”  Some examples to his operas: “Orpheo and Euridice”, “Alceste”, third and least known reform opera “Paris and Helen”  From Gluck’s dedication to Alceste: “I sought to confine its true function of serving the poetry by expressing feelings and the situations of the story without interrupting and cooling off the action through useless and superfluous ornaments.... I believed that music should join to poetry... I further believed that the greater part of my task was to seek a beautiful simplicity, and I have avoided a display of difficulty at the expense of clarity.”  Gluck * from “Orpheo and Euridice” -Ah, se intorno...- * from “Alceste” -Act II Scene 3- * from “Paris and Helen” -Finale- 3 Bogazici University - 2024-2025 Fall Semester 2024.11.29 FA 323.01 – Music Appreciation I Lecture 9 Song and Church Music The Lied  Operas entertained larger public arena; other types of secular vocal music, like the lied, entertained more intimate gatherings  Lied – the German song  collections of lieder (lieds) Georg Philipp Telemann (1681-1767) – Neues (lied) Church Music  affected by the late secular music of the18th century  adopted the musical idioms and genres of the opera. [oratorio became almost indistinguishable from the opera]  a mixed style – an adjustment between conservative and modern elements  influenced also by instrumental symphonic forms of the Classic period. [ex. Mozart and Haydn’s sacred compositions] Instrumental Music: SONATA & SYMPHONY The Sonata The Sonata Form: Domenico Scarlatti (1685-1757):  Most instrumental music (sonata, string quartet, concerto,  born the same year as Bach and Handel symphony etc.)of Haydn, Mozart, Beethoven, and their  chief Italian keyboard composer of the 18th century contemporaries is written in three(Fast-Slow-Fast) or four movements. The first movement is usually composed in a Scarlatti, D. from called “sonata form” – Piano Sonata K20 Presto (very fast)  The Sonata Form consists of two large divisions(exposition – Piano Sonata K87 Andante (at a walking pace) and development), where the first is repeated(recapitulation) – Piano Sonata K450 Allegrissimo (very fast – less fast then presto) 1) exposition (gives the two main themes of the movement) 2) development (develops the themes) 3) recapitulation (returns to the two themes) The Symphony Early Symphonies:  Vienesse music: the typical pleasant lyricism and good  influenced by the Italian opera overture (no musical humor – an important feature of Mozart’s music. connection with the opera)  Italian composers wrote concert symphonies using the France: general three movement structure: Fast-Slow-Fast  Paris: important center of composition and publication (“symphonies of the month” ) Germany – The Mannheim Orchestra:  The principal German centers of symphonic composition The Symphonic Orchestra: were Mannheim, Vienna, and Berlin.  much smaller than today’s symphonic orchestra  The Mannheim Orchestra became famous all over Europe  rarely more than twenty-five players for its virtuosity (especially its dynamic range)  by the end of the 18th century the basso-continuo  The Mannheim School refers to both the orchestral disappeared both in the orchestra and in the ensemble music. techniques pioneered by the court orchestra of Mannheim in  typical mid-century: importance to strings; winds for the latter half of the 18th century as well as the group of doubling composers who wrote such music for the orchestra of  later in the century: winds became more important and Mannheim and others. more independent 4 Bogazici University - 2024-2025 Fall Semester 2024.11.29 FA 323.01 – Music Appreciation I Lecture 9 SUMMARY ☺ The Enlightenment ☺ It was a humanitarian age: rights of the individual, and the rise of the middle-class ☺ Music started to become natural and universal ☺ Music was simple and easy-to-listen-to => composed for the middle-class ☺ The early Classic period explored a lot of new genres, forms, and ways of expression in music. ☺ The Sonata form became firmer. ☺ The Sonata made its place, and the Symphony was born. ☺ Much of the innovations in music originated in the Italian opera – particularly the comic opera. ☺ Opera seria: treated serious subjects, clear of comic scenes and characters; teach lessons and send messages to the public; promote morality, and present models of merciful and enlighted rulers. ☺ Comic opera: represented everyday people in familiar situations; served as a moral purpose: caricaturing the foibles of aristocrats and commeners, vain ladies, miserly old men, etc. ☺ From Italian theaters, the new styles spread through the cosmopolitan network. 5 Bogazici University - 2024-2025 Fall Semester 2024.12.06 FA 323.01 – Music Appreciation I Lecture 10 LATE 18th CENTURY: HAYDN & MOZART Two outstanding composers of the late 18th century! In common: * They were personal friends. * Each admired and was influenced by the music of the other. * Were both practicing musicians. (Mozart: a virtuoso pianist; Haydn: a fine violonist) Their differences: * Haydn, born in 1732, died in 1809 when he was 77; Mozart, born nearly a generation later in 1756, and died in 1791 when he was 35. * Haydn’s growth to artistic majority was much slower than Mozart’s, who was a child prodigy. * Haydn worked happily next to a noble Hungarian family for most of his life; Mozart quit his job in his home town Salzburg to become a free agent in Vienna. * Mozart traveled a lot (to England, Italy, Germany, Holland, and France) and absorbed the many styles and forms he found there; Haydn took his models from local areas around Vienna. Franz Joseph HAYDN (1732-1809) Born in what is now known Austria. Got musical training from an uncle at the age of five. Two years later became choirboy – dismissed when his voice changed; studied counterpoint; took composition lessons; became director for a Count in Vienna. 1761 → entered the service of Prince Esterhazy [head of one of the wealthiest and most powerful Hungarian families – a man devoted to music – a generous patron of art] → a very important date in his life → passed nearly 30 years of his life → under circumstances ideal for his development as a composer. At the palaces of the Esterhazy’s (a very big palace). o Had many concert halls. o Haydn had to compose whatever music demanded by the prince; conduct performances; train the musical personnel; keep instruments in repair. o Many periodic concerts (weekly events; special operas and concerts; daily chamber music sessions etc.) o The prince played the baryton (an instrument resembling a large viola da gamba)→ Haydn wrote some 165 pieces for the baryton. The Esterhazy Palace was an isolated place; however many guests and artists came → Haydn was able to follow current developments in music. At first he was not allowed to sell his compositions to others, then this rule loosened. Many of his compositions were published throughout Europe. His fame spread in 1770s and 1780s. After death of the Esterhazy prince, two productive years in London. (→ the twelve London symphonies) (Recall) What is a symphony? o A symphony is a musical piece composed only for the orchestra. (note:Beethoven was the first composer to add human voices to the symphony (9. Symphony)) o A typical Classical Era symphony (concerto, or sonata) is written in Standard 3 Movements: Fast–Slow–Fast. o Another typical Classical Era symphony is written in Standard 4 Movements: Fast–Slow–Dance–Fast. o The first movement of symphonies (concertos, or sonatas) is written in the Sonata Form: Exposition–Development–Recapitulation. 1 Bogazici University - 2024-2025 Fall Semester 2024.12.06 FA 323.01 – Music Appreciation I Lecture 10 Haydn’s Instrumental Music He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. There is always a sense of humor in Haydn’s compositions. Symphonies: o First movement → in Binary Form (sonata form) o Early Symphonies (1760s): Experimental; Nos.6,7,8: Le Matin, Le Midi, Le Soir o 1768-74: ▪ Deeply emotional and agitated character. ▪ Sturm und Drang (a pre-Romantic movement in German literature and music taking place from the late 1760s to the early 1780s, in which individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements.) ▪ Empfindsam (aimed to express "true and natural" feelings, in contrast to the Baroque.) ▪ Slow movements have a romantically expressive warmth. ▪ No.44: Trauersinfonie; No.45: Farewell Symphony (as a hint to prince Esterhazy, that it was time to move back from the summerplace, so that the musicians could see their families) o Mature (later) symphonies: The Standard Classic Four movements: Allegro(Fast), Andante moderato (Slow), Minuet&Trio (Dance), Allegro (Fast) o Like other composers of his time, Haydn wrote music for special occasions, and for players and singers he knew. So when he was asked to write 12 symphonies for the city of London, he found as much as he could about the performers, the concert hall etc. The London Symphonies: Twelve symphonies for the city of London → his crowning achievements (put together all that he had learned in the last 40 years) – the British called him “the greatest composer in the world” Quartets: Four movements; again first movement in binary form; especially in late quartets: humor and seriousness together. Keyboard Sonatas: The early ones can be played on a harpsichord, but later ones require the piano (dynamic changes). ♫ Haydn – String Quartet Op.76 No.3 “Kaiser Quartett” – Finale Haydn’s Vocal Music In an autobiography, Haydn named his most successful works as his vocal works – his symphonies were little known outside Esterhazy, but his vocal works were popular in Europe. Operas: o Haydn’s operas were very successful in their day. o Spent a lot of his time with the operas while he was with the Esterhazy (a center for the opera). o Haydn wrote at least fifteen operas, most of them were comic operas (recall: sense of humor). o Also, arranged, prepared, and conducted some seventy-five operas by other composers in the Esterhazy palace. Masses o Haydn composed a series of great masses. Oratorios: o During his days in London, Haydn met with the oratorios of Handel. He was deeply moved by them. We can hear the influence of Handel in all of Haydn’s oratorios. o Haydn’s most famous oratorios are “The Creation” (1798), and “The Seasons” (1801). These are the finest examples of late 18th century Program Music: loving descriptions of nature and innocent joy in the simple life. ♫ Haydn – The Creation Oratorio – “Die Himmel Erzahlen Die Ehre Gottes” 2 Bogazici University - 2024-2025 Fall Semester 2024.12.06 FA 323.01 – Music Appreciation I Lecture 10 The German National Anthem: o The melody of the German national anthem comes from the old Austrian imperial anthem “Gott erhalte Franz den Kaiser” (“God Save Franz the Emperor”) by Franz Joseph Haydn, which was first played on February 12, 1797. Note: The melody of the German national anthem comes from the old Austrian imperial anthem “Gott erhalte Franz den Kaiser” (“God Save Franz the Emperor”) by Franz Joseph Haydn, which was first played on February 12, 1797. In 1841 Haydn's melody was combined with lyrics by August Heinrich Hoffmann von Fallersleben to create “Das Lied der Deutschen” or “Das Deutschlandlied.” From the time of Bismarck's Prussia (1871) up to the end of the First World War this anthem was replaced by another. In 1922 the first president of the German Republic (the “Weimar Republic”), Friedrich Ebert, officially introduced “Das Lied der Deutschen” as the national anthem. During the 12 years of the Nazi era, the first stanza was the official anthem. In May 1952 the third stanza was proclaimed the official anthem of the Federal Republic of Germany (West Germany) by President Theodor Heuss (East Germany had its own anthem). The second verse, while never forbidden, was not very popular because of its “wine, women, and song” theme. Wolfgang Amadeus MOZART (1756-1791) Born in Salzburg. It is a city with a long musical tradition. It is the seat of the archbishop, and a provincial center. Mozart’s father was a musician, too. He worked under the archbishop. He was a composer, and had a famous book on violin playing. Traveling – Public Concerts: o Mozart showed his talent immediately and his father dropped all his ambitions and devoted his life to his son. He took little Mozart to a series of tours to England, Italy, Holland, and France. Thus Mozart had a synthesis of national styles in his compositions. o He became an accomplished organist and violonist. o Spent half his life displaying his talents (1762-1771) – public performances throughout Europe. Mozart not only played prepaired pieces, but also read concertos at sight, improvised variations, fugues, and fantasias. He composed his first minuets at the age of five; his first symphony just before his ninth birthday; his first oratorio at eleven; and his first opera at twelve! He has more than six hundred compositions, which are listed and numbered chronologically by Ludwig von Köchel (1862). → “Köchel Number” or just “K.” Influences: F.J.Haydn and J.S.Bach (Mozart met Bach in London) Mozart’s Salzburg Years (1774-1781): Mozart lived chiefly in Salzburg from 1774 to 1781, but he was unhappy with the circumstances and limited opportunities of Salzburg → decided to try his luck in Vienna as a freelancer. Vienna Years (1781-1791) – a freelancer o First he was very famous. o Then the public deserted him. o His health declined and he started to work for a very low salary. o Most of the works that immortalized Mozart’s name were composed in Vienna (between the ages twenty-five and thirty-five). Like all of is contemporaries, he was a “commercial composer”, that is, he expected his music to be performed, to please the audiance, and to make money. 3 Bogazici University - 2024-2025 Fall Semester 2024.12.06 FA 323.01 – Music Appreciation I Lecture 10 Mozart’s Compositions Piano and Violin Sonatas, and Variations for Piano: o Probably intended for pupils and house music. o One of the most famous works: Sonata for Piano K.331 – its finale is marked “Rondo a la Turca” – imitates the Janissary music of the Turkish military bands (then popular in Vienna) – especially percussion: cymbals, triangles etc. o Turcomania: ▪ After the Second Vienna Siege (1683), a movement called Turcomania started through the whole Europe. From Turkish Delight to Turkish Coffee, from casual costumes to masquerades, from rope-walkers to puppets, many stage works emerge in the Musical world of the West. Here are some examples of the 18 th century works written under the influence of Turcomania: Handel “Timur” opera (1724), Vivaldi “Bayazıt” opera (1735), Haydn “Military Symphony” (1794), Mozart “The Abduction From The Harem” opera (1782) ▪ It was also typical to write Turkish Marches. A famous example is the last movement of Mozart’s A Major Piano Sonata with the title “Rondo a la Turca” (1778). ▪ There were also many operas and ballets composed under the effect of the Turkish traditions in the 19 th and 20th centuries. Here are some examples: Weber “Ebu Hasan” opera (1813), Rossini “Il Turco in Italia” opera (1814), Verdi “Attila” opera (1846), Bizet “Cemile” opera (1872), Boris Asafiev “Bahçe Saray Balesi” (1934), Seymour “In the Pasha’s Garden” operetta (1916). : Mozart – Piano Sonata K.331 – Rondo a la Turca – Fazıl SAY playing... Serenades and Divertimentos: o Very popular in Salzburg. o For outdoor occasions (like garden parties, weddings); outdoor concerts; or concerts at homes of friends or patrons. o The pieces have a charm appropriate to their purpose. o Most familiar serenade: “Eine Kleine Nachtmusik” ♫ Mozart – “Eine Kleine Nachtmusik” – Rondo Solo Concertos: o For solo piano, and for solo violin. o Wrote many of the piano concertos for his own concerts. o Three-movement sequence (fast-slow-fast). o The second movement of a Mozart concerto is like a lyrical aria (recall: empfindsam style). o Cadenza: The cadenza is a part of the solo concerto where the performer is given the opportunity to show his virtuosity – composers wrote their own cadenzas, but there are versions of one cadenza. [Beethoven and later composers wrote long and hard cadenzas. Audiances in the 19th century looked forward to the climactic displays of these cadenzas in the concerts.] : Mozart – Piano concerto K.467 – Andante – Annie FISCHER playing... [one of the most dramatic and most frequently played] Solo Piano Works Chamber Music: o In 1785 Mozart published six string quartets dedicated to F.J.Haydn as his gratitude to the composer, for all that Mozart had learned from him: “The Haydn Quartets” 4 Bogazici University - 2024-2025 Fall Semester 2024.12.06 FA 323.01 – Music Appreciation I Lecture 10 Symphonies: o Having composed nearly sixty, Mozart, like Haydn, achieved seriousness in symphonies in his mature years: Mozart wrote six symphonies in the last ten years of his life (Vienna), including “The Jupiter Symphony”, and each of these six symphonies is a masterpiece with its own character. ♫ Mozart – Symphony No.41 “Jupiter” K551 – Allegro Vivace (1st mvt) Operas: o Mozart wrote mostly comic opera. o The chief dramatic works: the two German operas “The Abduction From The Harem” and “The Magic Flute”; and the three Italian operas “The Marriage of Figaro”, “Don Giovanni”, “Thus Do All Women”. o “The Abduction From The Harem” is a German opera in the form of a Singspiel (including both singing and spoken dialogue), a romantic-comic story based on the 18th century popular “oriental” background – Turkish music motives. o “The Magic Flute” is a German opera in the form of a Singspiel. The opera is also influenced by Enlightenment philosophy and noted for its prominent Masonic elements. o “The Marriage of Figaro” is an Italian comic opera (opera buffa). It intensifies the social tensions between classes, and introduces moral values. o “Don Giovanni”s libretto is a medieval legend. It is cataloged as opera buffa. Though sometimes classified as comic, it blends comedy, melodrama and supernatural elements. o “Thus Do All Woman” is an opera buffa. : Mozart – “The Magic Flute” – the aria of “the Queen of the Night” – Diana DAMRAU singing... Church Music: o His father worked as a musician for the archbishop, so, as his son, Mozart did similar work. o Masses: “The Requiem Mass” is Mozart’s last work. He left it unfinished. The Requiem was later completed by one of his pupils. ♫ Mozart – Requiem Mass – Lacrimosa ♫ There are many other late 18th century composers. ♫ Mozart and Haydn together ranged over all the genres practiced in late 18th century. ♫ Their music represents the best that the period produced.  DOCUMENTARY: Franz Joseph Haydn BBC Documentary A few notes on the Magic Flute and Freemasonary… The Magic Flute is noted for its prominent Masonic elements. Schikaneder and Mozart were Masons and lodge brothers, as was Ignaz Alberti, engraver and printer of the first libretto. The opera is also influenced by Enlightenment philosophy, and can be regarded as an allegory advocating enlightened absolutism. The Queen of the Night represents a dangerous form of obscurantism or, according to some, the anti-Masonic Roman Catholic Empress Maria Theresa, or, according to others, the contemporary Roman Catholic Church itself, which was also strongly anti-Masonic. Her antagonist Sarastro symbolises the enlightened sovereign who rules according to principles based on reason, wisdom, and nature. The story itself portrays the education of mankind, progressing from chaos (the serpent) through religious superstition (the Queen and Ladies) to rationalistic enlightenment (Sarastro and Priests), by means of trial (Tamino) and error (Papageno), ultimately to make "the Earth a heavenly kingdom, and mortals like the gods" ("Dann ist die Erd' ein Himmelreich, und Sterbliche den Göttern gleich"); this couplet is sung in the finales to both acts. Reminder! The due date and time for the Concert Impressions assignment is Dec 13, 2024 Friday 23:59 via email: [email protected]. 5 Bogazici University - 2024-2025 Fall Semester 2024.12.13 FA 323.01 – Music Appreciation I Lecture 11 Ludwig Van BEETHOVEN (1770-1827) ❖ Born in Bonn, Germany; spent most of his adult life in Vienna. ❖ His earliest music teacher was his father – a singer in the chapel of Bonn – pushed the boy’s progress in the hope of making a second Mozart of him. (When he was 17, Beethoven actually played for Mozart, and Mozart said that he had a bright future.) ❖ In 1792: o He was twenty-two, and an ambitious young composer and pianist, traveling from Bonn to Vienna o Haydn was at his peak, and Mozart had been dead since previous December. ❖ Beethoven took lessons from Haydn (1792-1794), until Haydn left in 1794 on his second visit to London. ❖ Beethoven came onto scene at a time when new and powerful forces were changing society – The French Revolution (1789-1799). Beethoven transformed this heritage and created a model for the composers of the Romantic Period. ❖ Output: Beethoven composed less in number than Haydn or Mozart. For example, he composed much less symphonies than Mozart or Haydn (Haydn 100-plus; Mozart 60-plus; Beethoven 9), however they were larger and grander. One reason for this was that Beethoven wrote his compositions with thinking over and over, revising, and making a lot of drafts – typical Romantic! He kept notebooks in which he jotted down themes and plans for compositions. → We can follow the progress of a musical idea through various stages, until it reaches the final form. ❖ His being moody and unsociable had much to do with his increasing deafness... Only with his passion for his art was he able to go on living and composing... Beethoven’s “Three Periods” ♫ Musicologists have divided Beethoven’s works into three periods based on style and chronology. Early Period (1770-1802) ❖ In his Early Period, Beethoven’s work was strongly influenced by Haydn and Mozart. ❖ Patrons: o Beethoven established himself in Vienna with the help of the contacts he made through his Bonn employer. o Several members of Austrian, Bohemian, and Hungarian aristocracy supported him. They sponsored concerts; bought rights for his first performances. o Beethoven’s works of this and later periods are dedicated to these patrons. ❖ Some important pieces from Early Period: o Piano Sonatas: ▪ First three sonatas are dedicated to Haydn. ▪ Fast movements: stormy, passionate character; Slow movements: calm and deep ▪ Piano Sonata Op.13 No.8 “Grande Sonate Pathétique" (dedicated to his friend Prince Lichnowsky) ♫ Beethoven – Piano Sonata Op.13 No.8 “Grande Sonate Pathétique" – I.Grave o Chamber Music: ▪ The set of six string quartets No.1-6 Op.18 ▪ Haydn’s influence ▪ Unexpected turns in the melodies o Orchestral: ▪ Symphony No:1 and Symphony No:2 ▪ The first two piano concertos ♫ Beethoven – The Violin Sonata “Frühlingssonate” (1801) Op.24 No.5 – III.Scherzo (Allegro molto) & Trio 1 Bogazici University - 2024-2025 Fall Semester 2024.12.13 FA 323.01 – Music Appreciation I Lecture 11 Middle (Heroic) Period (1802-1815) ❖ This period began shortly after Beethoven's personal crisis brought on by his recognition of encroaching deafness. ❖ Includes large-scale works that express heroism and struggle. ❖ Within a dozen years after coming to Vienna, Beethoven was famous throughout Europe as the foremost pianist and composer for piano. His innovations were being recognized. That is, large and long works with complexity and sudden changes of mood. He had many noble patrons supporting him, although he could sometimes be rude. ❖ Some important pieces from Heroic Period: o Symphony No.3: The Eroica Symphony (The Heroic Symphony) ▪ Written for Napoleon Bonaparte (1769-1821; Emperor of the French from 1804 to 1815) ▪ Second movement: “the Funeral March” – the customary slow movement is replaced with a march → links the work with France (Revolution) ♫ Beethoven – Symphony No. 3 in E flat Major, Op. 55 - II. Marcia funebre. Adagio assai o Fidelio ▪ A German opera with spoken dialogue in two acts ▪ Beethoven’s only opera ▪ The opera tells how Leonore, disguised as a prison guard named "Fidelio", rescues her husband Florestan from death in a political prison. o The Rasumovsky Quartets ▪ The three string quartets of Op.59 (No.7-9) ▪ Dedicated to the musical amateur Count Rasumovsky (again a patron), the Russian ambassador to Vienna. ▪ As a compliment to the count, Beethoven uses Russian melodies. ▪ Clementi: “Surely you do not consider these works to be music?” Beethoven: “Oh, they are not for you, but for a later age.” ♫ Beethoven – Rasumovsky Quartets Op.59 No.2 – Finale (Russian Theme) o Symphonies No:4-8 ▪ The 4th, 5th, and 6th symphonies were all composed between 1806 and 1808. Beethoven worked on the 4th and 5th symphonies at the same time. ▪ The Sixth, “The Pastoral Symphony”, has five movements each describing a scene from life in the country → an extra movement Storm is included, which introduces the finale (thus we have five movements instead of the Classic four movements). ♫ Beethoven – The Pastoral Symphony – First mvt o The Bagatelle No:25 (1810) “Für Elise” o Violin Sonatas and Concertos ▪ The “Kreutzer” sonata Op.47 No.9 ▪ The Violin concerto Op.61 ♫ Beethoven – The Violin Concerto – Finale (Yehudi MENUHIN playing) o Piano Sonatas and Concertos ▪ The outstanding piano sonatas are: “Moonlight” Piano Sonata No.14 Op.27: “Sonata quasi una fantasia” (The name “Moonlight” was given later by German music critic and poet Ludwig Rellstab, five years after Beethoven’s death – “moonlight shining on Lake Lucerne, Switzerland”.) “Waldstein” Piano Sonata No.21 Op.53: Dedicated to his close friend and patron Count Waldstein of Vienna. 2 Bogazici University - 2024-2025 Fall Semester 2024.12.13 FA 323.01 – Music Appreciation I Lecture 11 “Appassionata” Piano Sonata No.23 Op.57: Means “passionate” in Italian. Dedicated to Count Brunswick. Not named during Beethoven’s lifetime. Beethoven composed this sonata during the years 1804-1806, where in 1803 he had come to grips with the irreversibility of his progressively deteriorating deafness... “Les Adieux” Piano Sonata No.26 Op.81a: The French attack on Vienna in 1809 led by Napoleon Bonaparte forced Beethoven’s patron, Archduke Rudolph, to leave the city. The movements are I.Lebewohl (Farewell), II.Abwesenheit (Absence), and III.Wiedersehen (See again) → Program music. ♫ Beethoven – The Moonlight Sonata – First mvt ▪ Last three piano concertos: Like Mozart, Beethoven composed concertos for his own performances. o The Triple Concerto (1803) ▪ Concerto for Violin, Cello, and Piano Op.56. Late Period (1815-1827) ❖ Upto 1815 he was in a good condition, concerning his fame, his social relations, and his financial status. He was famous both at home and abroad; his music was played regularly in Vienna; he was peaceful, and in a moderately good financial state, with all the generous patrons and demands from publishers. ❖ However, as his deafness became more and more serious, Beethoven started to stay away from his friends, patrons, and publishers; retreated into himself; and became more and more aggressive and suspicious towards his environment. ❖ His health declined; poverty and family problems started to occur. ❖ It was only with his love towards his art that he kept living and composing. ❖ Works from this period are characterized by their intellectual depth, their formal innovations, and their intense, highly personal expression. ❖ Works of Late Period: His last five piano sonatas (No.28-32, including No.29 the Hammerklavier Sonata); the Missa Solemnis; the Diabelli variations for piano; his Ninth (Choral) Symphony; his final string quartets (Beethoven’s final works) including the Grosse Fuge. ❖ The Hammerklavier Sonata o Beethoven's Piano Sonata No.29 in B Flat major, Op. 106 is one of the most important works of the composer's third period and among the greatest piano sonatas. o