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