The Late Baroque

CC BY, Elliot Jones Santa Ana College

1. The Late Baroque

2. Late Baroque High point of music history Characterized by length and counterpoint Technical mastery and maturity Not a time of innovation but of refinement The two masters of this period: Johann Sebastian Bach George Frideric Handel

3. Late Baroque Characteristics Progressive melodic development Melodies long and asymmetrical Use of sequence Rhythmic continuity and clarity One primary melodic idea per movement Clear beat – “ sewing machine ” Dense polyphonic texture

4. Johann Sebastian Bach ( 1685-1750 )

5. Johann Sebastian Bach ( 1685-1750 ) Born into very musical family Lived entire life in Germany Virtuoso organist and composer Held various court and church positions Last 27 years in Leipzig as Cantor of St. Thomas ’ Church (music for 4 churches)

6. Johann Sebastian Bach Extremely prolific composer (see p. 149) Master of counterpoint, esp. the fugue Was not internationally known like Handel Often traveled regionally to test organs One of the greatest composers of all time

7. Later Baroque Cantata Much more like a small scale oratorio Consists of all operatic characteristics Recitatives Arias Ensembles Choruses Orchestra

8. Sacred Cantata ’ s of J.S.Bach Cantata integral to Lutheran church service New cantata required every Sunday Yearly cycle approx. 60 cantatas One per Sunday plus holidays/special occasions Usually 5 to 8 movements Bach composed 4–5 cycles ( only 200 extant ) Frequent use of Lutheran Chorale

9. Lutheran Chorale Chorale is the hymn tune Sung by the congregation Originally sung in unison Later set in 4-part harmony, melody in soprano (top voice) These 4-part settings referred to as a chorale Chorale unifies the cantata

10. Listening Example Title: Awake, a Voice Is Calling (140) Composer: Johann Sebastian Bach Genre: Cantata We ’ ll listen to movements 1, 4, and 7

11. Notes on Awake… (1 st mvmt.) Orchestral ritornello Rhythmic momentum of ritornello builds Chorale in soprano part Elaborate polyphony in choir and orchestra Multiple layers of activity depict the energy of the text

12. Notes on Awake… (4 th mvmt.) Two central musical ideas Chorale sung by tenors Unison violin/viola melody Walking bass in continuo Much simpler texture than 1 st mvmt. More lyrical, flowing quality This movement was one of Bach ’ s favorites and was the only cantata mvmt he published

13. Notes on Awake… (7 th mvmt.) Four part setting – chorale Homophonic (homorhythmic) texture Instruments double the voices Chorale tune in the soprano

14. The Baroque Suite Evolved from Renaissance dance music Began as actual dances b ut became concert music Suites could be written for: Orchestral music Chamber music (small group) Solo instrument

15. Commonly-used Dances German allemande French courante Spanish sarabande English jig ( gigue )

16. Standard Order 1. Overture or Prelude 2. Allemande 3. Courante 4. Sarabande 5. Other dances (such as Minuet, B ourée , or Gavotte) 6. Gigue (jig)

17. Baroque Suite Form Each dance is relatively short Dances usually feature binary form Two sections (A-B) Sections are approximately equal in length Often sections are repeated (A-A-B-B)

18. Bach’s Cello Suites Among the best-known works for solo cello Six suites of six movements each No continuo accompaniment is used Follow the standard suite form

19. Listening Example Title: Prelude, Cello Suite No. 1 in G major Composer: Johann Sebastian Bach Genre: Suite

20. Notes on Prelude, Cello Suite No. 1 Best known movement of all six suites Solo cello, no continuo Mostly chords, no clear tune Harmonic emphasis rather than melodic Note the driving steady rhythm Bach’s harmonic mastery turns what is essentially a warm-up into a work of beauty

21. Fugue “ Fuga ” is Latin for “ flight ” Highly contrapuntal Based on principle of imitation Theme (subject) is repeated in all voices Subject is unifying idea Can be written for any instrument or group Vocal or instrumental

22. Fugue Terms Subject Countersubject Exposition Episode

23. Listening Example Title: Organ Fugue in G Minor Composer: Johann Sebastian Bach Genre: Fugue

24. Notes on Organ Fugue Entrance of solitary subject at beginning Long subject, gathers rhythmic momentum Exposition runs from top to bottom voices Use of pedal point A low pitch held or repeated while harmony changes around it Ends with major triad despite minor key

25. Concerto grosso (reminder) Contrasting instrumental groups: Small group of instruments ( concertino ) Large group ( ripieno or tutti ) Different instruments featured at different times in the concertino Brandenburg Concertos by Bach are excellent example of the genre

26. Listening Example Title: Brandenburg Concerto #5 Composer: Johann Sebastian Bach Genre: Concerto Grosso

27. Notes on Brandenburg #5 Concertino: flute, violin, and harpsichord Relatively small tutti Orchestral ritornello Especially prominent harpsichord part Harpsichord cadenza

28. Equal Temperment “ New ” tuning system for keyboards Allowed for performance in all keys Weakness of other systems Not all keys were equally in tune Modulation was therefore restricted

29. The Well-Tempered Clavier Two-volume collection (1722 & 1742) Prelude & Fugue pairs in every key 12 major keys 12 minor keys These collections demonstrated that pieces played in every key sounded equally in tune This was not possible with earlier tunings

30. George Frideric Handel (1685 – 1759)

31. George Frideric Handel (1685 – 1759) Born in Halle, Germany Studied in Halle & Hamburg, then Italy Composed first opera at age 20 Accepted position as Kappelmeister to the Elector of Hanover in 1710 (age 25) 1710 visit to England becomes permanent Enjoys international fame

32. George Frideric Handel (1685 – 1759) Coronation Service for George II Zadok the Priest played every coronation since Director of the Royal Academy of Music (1720 – 1728) Oratorio Messiah has been performed continuously since its composition Handel buried in Westminster Abbey

33. Opera Seria Dominant form of high Italian opera Use of castrati for heroic lead roles Handel sought financial gain by taking this Italian style to English audiences Composed 24 operas for Royal Academy of Music – generally successful until 1728 Academy went bankrupt due to production costs and shrinking sales

34. Oratorio Began as small religious musical plays Grows to mirror opera in scale and style Extended musical setting of sacred text Role of chorus is emphasized No scenery, costumes, or staging

35. Da Capo Aria Italian for “ from the top ” This is an aria with a specific structure A-B-A ’ form Section A is sung followed by section B After section B, section A is repeated with embellishments

36. Handel and the Oratorio As opera seria ’ s popularity waned, Handel turned to oratorio for financial reasons Lower production costs No opera stars No scenery or costumes Adapting to English tastes English long choral tradition Puritan market

37. Handel ’ s Messiah Handel composed 20 oratorio in 20 years Messiah is most famous and stands apart Not a heroic story from OT with characters Combination of OT and NT verses No character or dramatic plot Extra choral emphasis (19 choruses) Composed in 3½ weeks

38. Listening Example Title: Messiah , Rejoice Greatly (No. 18) Composer: George Frideric Handel Genre: Oratorio

39. Notes on Rejoice Greatly Aria Long melismas Da Capo aria – ABA ’ Note the contrast between A & B sections Tempo Mode (major vs minor)

40. Handel ’ s Orchestral Suites Two orchestral suites: Water Music Music for the Royal Fireworks

41. Water Music Actually three combined suites Does not follow standard order Composed for a royal party on the Thames Performed outdoors on floating barges Performed without continuo instruments for 1717 Thames River trip Louder instruments (trumpets & horns) are therefore emphasized

42. Listening Example Title: Water Music , Alla Hornpipe Composer: George F. Handel Genre: Suite

43. Notes on Alla Hornpipe ABA (ternary) form with repeat of first A Horns and trumpets featured prominently Full orchestra plays A section Strings play B section Majestic sound characteristic of Handel