Chat with us, powered by LiveChat How did instrumental music develop during the Baroque era? Discuss 3 baroque composers that contributed to this development and how they contributed. Include 1 piece from each composer - Writingforyou

How did instrumental music develop during the Baroque era?  Discuss 3 baroque composers that contributed to this development and how they contributed.  Include 1 piece from each composer

 

#1 – How did instrumental music develop during the Baroque era?  Discuss 3 baroque composers that contributed to this development and how they contributed.  Include 1 piece from each composer that we have discussed in class, from the textbook, or from the Powerpoint only.  Do not use other pieces. 

#2 – Discuss the origins of opera during the Baroque era.  What influenced them and how did it start?  Give 3 examples of song styles or singing styles used in these operas during this time (use only examples that were discussed in the lecture, book or PPT) and explain what kind of style it is and how those examples are different from one another.

Four hundred wrd each

Unit 2 – Baroque #2

Chap. 15 – Music for Chamber & Church Chap. 16 – France, England, Spain & Russia Chap. 17 – Italy & Germany

MUSI 1307 – MUSIC LITERATURE

In this lecture, we will cover…

Music for Chamber & Church in the early 17th Century

Oratorios

Instrumental Chamber Music

France, England, Spain & Russia

Italy & Germany

Use of basso continuo & ground bass

Descending tetrachords – used for lament

Chacona

Cantata

Barbara Stozzi (1619-1677) – “Lagrime mie” – LISTENING #1

Music for Chamber & Church in the Early 17th Century

Example of Descending Tetrachord:

Music for the Church (continued)

Stile antico & stile modern

Sacred concertos

Oratorios – 17th century Rome

Giacomo Carissimi (1605-1674)

“Plorate colles” (recitative) from Historia di Jephthe (ca. 1648) – LISTENING #2

Heinrich Schutz (1586-1672)

Historia – “The Seven Last Words of Christ”

Passions

Instrumental Chamber Music

Solo Works

Chamber works (solo or small group with continuo)

Large ensemble works (for 2 or more players per part)

Types of instrumental music from 1600-1650:

Improvisational style (toccata, fantasia or prelude)

Fugal works (ricecar, fantasia, capriccio, fugue)

Pieces with contrasting sections (canzona or sonata)

Settings of existing melodies (organ verse or chorale prelude)

Pieces that vary a given melody (variations, partita), choral (chorale variations, chorale partita) or bass line (partita, chaconne, passacaglia)

Dances as independent piece or linked together in a suite

Types of instrumental music from 1600-1650:

Improvisational style (toccata, fantasia or prelude)

Girolamo Frescobaldi (1583-1643)

Frescobaldi Toccata No. 3 (1615) – LISTEN

Fugal works (ricecar, fantasia, capriccio, fugue)

Pieces with contrasting sections (canzona or sonata)

Biagio Marini (1593-1663) – opus

Sonata IV – LISTEN

Settings of existing melodies (organ verse or chorale prelude)

Pieces that vary a given melody (variations, partita), choral (chorale variations, chorale partita) or bass line (chaconne, passacaglia)

Dances as independent piece or linked together in a suite

Frescobaldi

Music in France (17th century)

King Louis XIV of France – “24 Violins of the King”

Orchestra

Choreography

Jean Baptiste Lully (1632-1687)

Comedies-ballets, tragedie-lyrique & divertissements

French overture

Notes inegales & Agreements

Lully’s opera, Armide

Overture – LISTENING #3

Act II, Scene 5, « Enfin il est en ma puissance » – LISTEN

Lully

Music in France (continued)

Airs – Air de cour & Air serieux

French School of Organ Music

Clavecin/Harpsichord

Francois Couperin (1668-1733)

Elizabeth-Claude Jacquet de la Guerre (1665-1729)

Style luthe or style brise

Dance suites – ACSG

Allemande

Courante

Sarabande

Gigue

Guerre Suite No. 3 – LISTEN

Minuet

Gavotte

Passepied

Bouree

Prelude/Overture

Music in England (17th century)

Masques

Henry Purcell (1659-1695)

Dido and Aeneus, “When I am Laid in Earth” (1689) – LISTENING #4

Lyrics: When I am laid, am laid in earth, may my wrongs create No trouble, no trouble in, in thy breast. When I am laid, am laid in earth, may my wrongs create No trouble, no trouble in, in thy breast. Remember me, remember me, but ah! Forget my fate. Remember me, but ah! Forget my fate. Remember me, remember me, but ah! Forget my fate. Remember me, but ah! Forget my fate.

Jessye Norman (1945-2019) – dramatic soprano

Music in Spain & the New World (17th century)

Spanish rule the colonies in the Americas

Zarzauela

Tiento – similar to fantasia – LISTEN

Music of Russia (17th century)

Russian Orthodox Church – Byzantine empire roots

1652 – Nikon, head of church

Kontsert

Kant – LISTEN

Tsar Peter the Great – ruled in 1698-1725

St. Petersburg – capital in 1703

Music in Italy (17th century)

Da Capo Aria

Alessandro Scarlatti (1660-1725)

“Si, si ben mio” from Clor vezzosa – LISTENING

Antonio Stradivari (ca. 1644-1737)

Sonatas

Sonata da camera

Sonata da chiesa

Arcangelo Corelli (1653-1713)

Trio Sonatas – Op. 3 No. 2 – LISTEN

Church Sonatas

Chamber Sonatas

Solo Violin Sonatas

Chamber vs. Orchestra

Instrumental concerto

Concerto grosso

Music in Italy (continued)

Music of Germany (17th century)

Dieterich Buxtehude (ca. 1637-1707) – Lutheran composer

Protestant organ music = prelude for liturgy

Chorale preludes, toccatas, preludes with fugues

Buxtehude Toccata in E Major – LISTEN

Fugue

Subject, Answer, Episodes

Zipoli Fugetta in E Minor

Zipoli: Fugetta in E Minor

Key: ___ Minor

Tonic: I = _____

Dominant: V = ______

Zipoli: Fugetta in E Minor

Key: ___ Minor

Tonic: I = _____

Dominant: V = ______

Subject in Tonic (I) Em

Subject in Dominant (V) BM M

Episode (sequence)

Next:

Buxtehude Toccata in E Major – LISTEN

Listen for the fugal melody and identify them as they are played

E

E

B

Click here to watch a nice video about the fugue.

Assignment for this week:

Read Grout textbook Chap. 16-17

Listen to the recordings for this week

Assignment #4

Discussion #3

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Unit 2: Baroque Era #3

Chap. 18 – Early 18th century in Italy and France Chap. 19 – German composers in the Late Baroque

MUSI 1307 – Music Literature

In this lecture, we will cover…

Music in the Early 18th century (late Baroque)

Italy

Antonio Vivaldi

France

Francois Couperin

Jean Philipe Rameau

Germany

George Phillip Telemann

Johann Sebastian Bach

George Frideric Handel

Music in Italy (early 18th century)

Opera was main genre

Naples – Opera

Rome –Instrumental music and some opera

Venice – all

Antonio Vivaldi (1678-1741) – “The Red Priest”

Wrote: Oratorios, sacred music, instrumental music

Concertos – 3 movement plan – Fast-Slow-Fast

Ritornello Form

Vivaldi: Concerto for Violin and Orchestra in A minor, Op. 3 No. 6 (performed by Itzak Perlman)– LISTENING #1

Vivaldi: Four Seasons, Op. 8 “Spring” – LISTENING #2

Music in France (early 18th century)

Paris – music capital

François Couperin (1668-1733)

Composed: organ music, elaborate motets, chamber music & harpsichord suites (“order”)

“Art of Playing the Harpsichord” (1716)

Titles for solo keyboard works

Couperin: Twenty-Fifth Order, The Visionary (1730) – LISTEN

Jean-Philipe Rameau (1683-1764)

Treatise on Harmony (1722)

Terms: tonic, dominant, subdominant, modulation

German Composers of the Late Baroque

Georg Philipp Telemann

(1681-1767)

George Frideric Handel

(1685-1759)

Johann Sebastian Bach

(1685-1750)

Georg Philipp Telemann (1681-1767)

Prolific Composer – wrote over 3,000 works

Paris Quartets – 2 sets of 6 pieces (published in 1730)

Written for flute, violin, viola da gamba (cello) and continuo – LISTEN

Johann Sebastian Bach (1685-1750)

1685 – Born in Eisenach, Germany to a family of musicians.

1694 – Parents die. Move to brother’s home

1699 – Scholarship to St. Michael’s school (Hamburg)

Weimar Period

(1703-1717)

1703 – First job in Weimar as musician in court of Duke Johann Ernst

Left for organist position at Arnstadt church

1705 – hear Dietrich Buxtehude concerts

1707 – New organist position in Muhlhausen; got married

1708-1717 – New job in Weimar as organist for Duke Wilhelm Ernst

Jesu, Joy of Man’s Desiring

Toccata and Fugue in D minor BWV 565 – LISTENING #3

Orgelbücklein

“Great” Passacaglia and Fugue in G Minor, BWV 542 – LISTEN – Cameron Carpenter

Cöthen Period (1717-1723)

1717- New job with Prince Leopold

Wrote Brandenburg Concertos

Wrote Well-Tempered Clavier Book 1, Prelude & Fugue in C minor, BWV 565 LISTENING #4

Sonatas, Concertos, suites, partitas

JS. Bach: Cello Suites No. 1 in G Major, BWV 1007

LISTENING #5 by Yo Yo Ma

Modern version: LISTEN

JS. Bach: Violin Partita No. 1, BWV 1001

LISTEN by Hillary Hahn

Leipzig Period (1723-1750)

1723 – Got job in Leipzig

Wrote Christmas Oratorio, BWV 248

Wrote St. Matthew’s Passion, BWV 244

Wrote Goldberg Variations, BWV 988

20 kids: 3 were musician/composers

Wilhelm Friedmann Bach

Carl Phillipp Emanuel Bach

Johann Christian Bach

BWV (Bach-Werke-Verzeichnis) by Wolfgang Schmeider in 1950

Café Zimmermann

St. Thomas Church

George Frideric Handel (1685-1759)

Handel was internationally famous

Born in Germany

1703 – moved to Hamburg

Travelled to Italy by Prince

Moved to London – SUCCESS

Opera Recitative – simple recitative, accompanied recitative

English Oratorio – Messiah (1742) – LISTENING #6

Listen to “Comfort Ye” – LISTEN

Listen to “Rejoice Greatly” – LISTEN

Instrumental Music:

Water Music – LISTENING (use of period instruments)

Music for the Royal Fireworks – LISTENING (use of period instruments)

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Unit 2 – Baroque Era

MUSI 1307 – Music Literature

1600-1750

Lecture #1 – New Styles in the 17th century

In this Lecture, we will cover:

Historical Context

New Styles of the 17th Century

Invention of the Opera

Historical Events of 1600-1750

1567-1643 – Monteverdi

1632-1687 – Lully

1668-1733 –Couperin

1685-1759 – Handel

1685-1750 – JS Bach

1603 – Death of Elizabeth I

1620 – Arrival of Pilgrims

1626 – Settlement of New York

1610 – Louis XIII becomes King of France

1618-1648 – 30 years War

1667 – Completion of St. Peter’s Square

1692 – Salem Witch Trials

1616 – Shakespeare’s death

1600 – Began Baroque era – time of change, adventure and discovery

Absolute monarchy – King Louis XIV statement “I am the State”

Religious battles

Baroque architecture in palaces

Versailles & Hall of Mirrors (outside of Paris)

Art, literature & music focused on dramatic

Look at two sculptures of David

David by Michelangelo (1504-Renaissance)

David by Bernini (1624-Baroque)

David by Michelangelo (1504-Renaissance)

David by Bernini (1624-Baroque)

Doctrine of Affections

Joy, Anger, Love, Fear, Excitement & Wonder

Descartes

Greek’s Doctrine of Ethos

Concertato medium/concerted madrigal

Cadenza

Basso continuo – played by Harpsichord or lute

Figured Bass

This Photo by Unknown Author is licensed under CC BY-NC

Invention of Opera

Inspiration for Opera

Pastorale Dramas

Madrigal comedy or Madrigal cycles

Intermedio

Florentine Camerata

Guilio Caccini (1550-1618)

Arias

Giulio Caccini: Vedrò 'l mio sol – LISTEN

Jacopo Peri (1561-1633)

first opera “Euridice” based on poem, Dafne

Recitative Style

Peri: “Per quel vago boschettoin” from Euridice LISTENING #1

Claudio Monteverdi (1567-1643)

First to show full potential of opera

Became Maestro di cappella at St. Mark’s Cathedral

Concitato genre / Stile concitato

Monteverdi’s first opera “L’Orfea”

L'Orfeo, excerpt from Act II, Vi ricorda o boschi ombrosi – LISTEN

Teatro San Cassiano (1637)

St. Mark’s Cathedral – he wrote Poppea

L'incoronazione di Poppea Act I, Scene 3, «Signor, deh non partire» LISTENING #2

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