Art of Listening The Baroque Period for Midterm 2
George Frideric Handel
Born in Germany-same year as Bach-not from musical family; studied music in Germany, then studied opera in Italy and finally worked in England
Listening Example: Cantana No. 140: Wachet auf, ruft uns die Stimme (Awake, a Voice is Calling Us; 1731) First Movement: Chorus and Orchestra
Johann Sebastian Bach; First Movement: Chorus and Orchestra
Listening Example: Cantana No. 140: Wachet auf, ruft uns die Stimme (Awake, a Voice is Calling Us; 1731) Fourth Movement: Tenor Chorale
Johann Sebastian Bach; Fourth Movement: Tenor Chorale
Listening Example: Cantana No. 140: Wachet auf, ruft uns die Stimme (Awake, a Voice is Calling Us; 1731) Seventh Movement: Chorale
Johann Sebastian Bach; Seventh Movement: Chorale
The opening of a fugue may be represented as follows:
Soprano-Subject...etc. Alto-Subject...etc. Tenor-Subject...etc. Bass-Subject...etc.
Important Style Features-Dynamics
Terraced dynamics change suddenly rather than gradually and are a major feature of baroque music.
French overture
common opening piece in baroque suites, oratorios and operas; usually in two parts: the first slow, with characteristic dotted rhythms, full of dignity and grandeur; the second quick and lighter in mood, often starting like a fugue
cantata
composition in several movements, usually written for chorus, one or more vocal soloists and instrument ensemble. The church cantata for the Lutheran service in Germany during the baroque period often includes chorales
stretto
compositional procedure used in fugues, in which a subject is imitated before it is completed one voice tries to catch the other
voices
different melodic lines imitate the subject
opera
drama that is sung to orchestral accompaniment; characters and plot are revealed through song, rather than speech used in ordinary drama
librettist
dramatist who writes the libretto, or text of an opera
sonata da camera (chamber sonata)
more dancelike and was intended for performance at court
libretto
text of an opera
ritornello form
the first and last movements which is based on alternation between tutti and solo sections
augmentation
the original time values are lengthened
improvisation
the term used for music created at the same time as it is performed
ritornello (refrain)
the tutti open with a theme which returns in different keys throughout the movement
subject
theme of a fugue
episodes
transitional section in a fugue between presentations of the subject, which offers either new material or fragments of the subject or countersubject
ground bass, or basso obstinato (obstinate or persistent bass)
variation form in which a musical idea in the bass is repeated over and over while the melodies above it continually change; common in baroque music
inversion
variation of a fugue subject in which each interval of the subject is reversed in direction
retrograde
variation of a fugue subject in which the subject is presented by beginning with its last note and proceeding backward to the first
Coloratura soprano
very high range; can execute rapid scales and trills
Henry Purcell
English composer who held court positions ands only true opera is called Dido and Aereas
fugue
a polyphonic composition based on one main theme, or subject (usually includes three, four, or five voices)
chorale prelude
a short composition based on the hymn tune that reminded the congregation of the melody
pedal point (organ point)
a single tone, usually in the bass, is held while the other voices produce a series of changing harmonies against it; often found in fugues (The term is taken from organ music, where a sustained low tone is produced by the organist's foot on a key or the pedal keyboard.)
concerto grosso
a small group of soloists is pitted against a large group of players; consists of three movements
aria
a song for solo voice with orchestral accompaniment; an outpouring of melody that expressed an emotional state
supertitles
a translation of the libretto is projected above the stage
recitative
a vocal line that imitates the rhythms and pitch fluctuations of speech; often serving to lead into an aria; words are sung quickly and clearly, often on repeated tones
terraced dynamaics
abrupt alternation between loud and soft dynamic levels; characteristic of baroque music
trill
an ornament consisting of the rapid alternation of two tones that are a whole or half step apart
da capo aria
aria in ABA form; after the B section, the term da capo is written; this means from the beginning and indicates a repetition of the opening A section
figured bass
bass part of a baroque accompaniment with figures (numbers) above it indicating the chords to be played
chorale
hymn tune, was sung to a German religious text
countersubject
in a fugue, a melodic idea that accompanies the subject fairly constantly
sonata
in baroque music, an instrumental composition in several movements for one to eight players
baroque program music
instrumental music associated with a story, poem, idea or scene
chorus
(1) a group of singers performing together, generally with more than one to a part (2) in jazz, a statement of the basic harmonic pattern or melody
tutti
(all) against a large group of players
voice categories of opera:
1. Coloratura soprano 2. Lyric soprano 3. Dramatic soprano 4. Lyric tenor 5. Dramatic tenor
Important Style Features-Texture
1. In late baroque music, texture is predominantly polyphonic. 2. The bass line provides a harmonic foundation for the music, often written as a figured bass that encouraged improvisation. 3. Imitation between the individual melodic lines of music is very common.
A fugue subject can be varied in four principal ways:
1. Inversion 2. Retrograde 3. Augmentation 4. Diminution
Important Style Features-Melody and Harmony
1. Melodies recur as a whole or in part through a movement or aria 2. Melodies give an impression of continuous expansion, even within a slow tempo
Important Style Features-Tone Color
1. The basso continuo 2. Purely instrumental,ental music grows I importace as a genre throughout the baroque period
Ouline of concerto gross
1. a. Tutti (f) ritornello in home key b. Solo 2. a. Tutti (f), ritornello fragment b. Solo 3. a. Tutti (f), ritornello fragment b. Solo 4. Tutti (f) ritornello in home key
bass continuo
Baroque accompaniment made up of a bass part usually played by two instruments: a keyboard plus a low melodic instrument
trio sonatas
Baroque composition that has three melodic lines: two high ones, each played by one instrument; and a basso continuo, played by two instruments (a keyboard and a low instrument)
clavichord
Baroque keyboard instrument in which sound is produced by means of brass blades sticking strings, capable of making gradual dynamic changes, but within a narrow volume range
Listening Example: La Primavera (Spring), Concerto for Violin and String Orchestra, Op 8. No. 1, from The Four Seasons (1725) First Movement: Allegro
By Vivaldi; first movement
Listening Example: La Primavera (Spring), Concerto for Violin and String Orchestra, Op 8. No. 1, from The Four Seasons (1725) Second Movement: Largo e pianissimo sempre (very slow and very soft throughout)
By Vivaldi; second movement
Listening Example: La Primavera (Spring), Concerto for Violin and String Orchestra, Op 8. No. 1, from The Four Seasons (1725) Third Movement: Danza pastorale (Pastoral Dance)
By Vivaldi; third movement
Protestant areas during the Baroque period
England, Holland, Denmark, Sweeden, and parts of Germany
Catholic areas during the Baroque period
France, Spain, Italy, and the Austrian empire
Dramatic soprano
Full, powerful voice; is capable of passionate intensity
Johann Sebastian Bach
German, late baroque composer who is an organist and violinist who is deeply religious (Lutheran). He is known during his lifetime as a keyboardist and wrote in every form except opera.
camerata
In Italian, fellowship or society; a group of nobles, poets, and composers who began to meet regularly in Florence around 1575 and whose musical discussions prepared the way for the beginning of opera
What is the difference between a round and a fugue?
In a round, each voice presents the melody or the same tones, but in the opening a fugue, the subject is presented in two different sales (first voice-tonic scale and second voice-dominant scale)
Important Style Features-Mood and Emotional Expression
In instrumental music, a section or entire movement will express one basic mood throughout ("unity of mood")
Antonio Vivaldi
Late baroque Italian composer known as the red priest and he taught music at girls orphanage in Venice; famous as virtuoso violinist and composer
oratorio-How is it like an opera and how is it different from an opera
Like an opera it is a large-scale composition for chorus, vocal soloists and orchestra; it is usually set to a narrative text. It differs from an opera in that it has no acting, scenery, or costumes and it is based upon biblical stories. Are longer than cantatas and have more of a story line
Why is the baroque period known as the "age of absolutism?"
Many rulers excercised absolute power over their subjects
Dramatic tenor
Powerful voice; is capable of heroic expression
Lyric soprano
Rather light voice; sings roles calling for grace and charm
Lyric tenor
Relatively light, bright voice
Music in Baroque Society
The primary areas of employment for musicians were in aristocratic courts, the church, and the opera house. Composers working in aristocratic courts, were considered servants.
Important Style Features-Rhythm
The rhythmic pulse is regular, consistent, and strong, typically featuring a constantly moving bass line even when the music is in a slow tempo.
Listening Example: Organ Fugue in G Minor (Little Fugue)
Written by Bach low organ in minor key
6. Listening Example: Trio Sonata in A Minor, Second Movement Op. 3, No. 10 (1689)
Written by Corelli; fugue like and also in quadruple meter; begins with a pervasive repeated-note motive
5. Listening Example: Trio Sonata in A Minor, First Movement Op. 3, No. 10 (1689)
Written by Corelli; there are dotted rhythms and it is very lively
Listening Example: Ev'ry Valley Shall Be Exalted, Aria for tenor, strings, and continuo Andante from Messiah
Written by Handel from Messiah (1)
Listening Example: For unto Us A Child Is Born, Chorus, string, continuo from Messiah
Written by Handel from Messiah (2)
Listening Example: Hallelujah Chorus from Messiah
Written by Handel from Messiah (3)
Listening Example: Brandenburg Concerto No. 5 First Movement: Allegro
Written by Johann Sebastian Bach. Has a long harpsichord solo.
Listening Example: Suite No. 3 in D Major (1729-1731), by Johann Sebastian Bach Fifth Movement: Gigue
Written by Johann Sebastian Bach; fifth movement
Listening Example:Suite No. 3 in D Major (1729-1731), by Johann Sebastian Bach Fourth Movement: Bourree (with an accent on the first e)
Written by Johann Sebastian Bach; fourth movement
Listening Example: Suite No. 3 in D Major (1729-1731) Second Movement: Air
Written by Johann Sebastian Bach; second movement
Listening Example: Tu se' sorta from Orfeo
Written by Monteverdi
Listening Example: Dido and Aereas (1689)
Written by Purcell
sonata da chiesa (church sonata)
a dignified character and was suitable for sacred performance
castrato
a male singer who had been castrated before puberty
countertenor
a male who sings in a female pitch range using a special kind of voice production
solo concerto
a piece for a single soloist and an orchestra
movement
a piece that sounds fairly complete and independent but impart of a larger composition
theorbo (bass lute)
a plucked string instrument which is capable of producing chords as well as the bass line
Claudio Monteverdi (1567-1643)
early baroque composer who wrote first great operatic work, Orfeo
affections
emotional states like joy, grief, and agitation represented in baroque music through specific musical language
da capo
from the beginning an indication usually meaning that the opening section of a piece is to be repeated after the middle section
ppp and mp
gradual dynamic changes, but only within a narrow range
prompter
person who gives cues and reminds singers of their words or pitches during an opera performance; located in a box just over the edge of center stage, which conceals him or her from the audience
Late baroque composers gloried in ____
polyphony-two or more melodic lines
oratorios
prayer halls
answer
second representation of the subject in a fugue, usually in the dominant scale
suites
sets of dance-inspired movements all written in the same key but differing in tempo, meter, and character
overture or a prelude
short orchestra, musical composition, purely orchestra, which opens an opera and sets the overall dramatic mood. Orchestral introductions to later acts of an opera are called ______; it involves the audience in the overall dramatic mood
prelude
short piece usually serving to introduce a fugue or another composition; a short piece for piano
diminution
shortened time values
accompanied recitative
speechlike melody that is sung by a solo voice accompanied by the orchestra
secco recitative
speechlike melody that issuing by a solo voice accompanied only by a basso continuo
ensemble
when three or more singers are involved