German Composers of the middle ages to the baroque Golden age of organ music in Lutheran parts of Germany from 1650-1750

Golden age of organ music in Lutheran parts of Germany from 1650-1750

Johann Pachelbel (1653-1706) of Nuremberg, famous today for his Canon in D, was one of the most prominent German composers of organ music

Dietrich Buxtehude (c. 1637-1707)

one of the most well-known Lutheran composers of the late 17th c. and a prominent organist and composer of organ
music (known especially for his virtuosic foot pedaling).

By end of 17th c., “fugue”

Became the main term for pieces in imitative counterpoint
(except canons), replacing other terms like “ricercare.”

exposition

Fugues contain a theme introduced in imitation by successive voices

episodes

free counterpoint interspersed between statements of the theme follow the exposition.

Solo sonata more popular among German composers

than the Italian trio sonata

Heinrich Biber (1644-1704)

wrote some of the most famous solo violin sonatas of
the 17th c. called the Mystery (or Rosary) Sonatas for Violin (c. 1675)

In the 18th c., for the first time in history

The most significant composers coming from Germany. Although Germany still divided politically, music supported in each principality

Georg Philipp Telemann

extremely prolific and regarded by his contemporaries as one of the greatest composers; his style seamlessly
incorporated different national musical styles

His Paris Quartets (1730)

flute, violin, cello, and continuo mix Italian, French, and German styles (German counterpoint, Italian ritornello form, French ornamentation)

Telemann

more highly regarded than Bach in his day (Telemann was
first choice for a music position in Leipzig, J.S. Bach was third choice)

J.S. Bach

regarded as one of the greatest composers of all time,
but he was less revered in his own day; better known then as an organ virtuoso and composer of contrapuntal works

bach 2

worked as a musician and composer in different cities in Germany, including in Arnstadt, Mühlhausen, Weimar, Köthen, and Leipzig

bach 3

absorbed different styles by copying and arranging the music of other composers (Torelli, Vivaldi, Telemann, and others).

bach 4

He died at age 65 as a result of complications from cataracts surgery.

Bach organ 1

Bach wrote music for use in Lutheran services. Bach made standard the practice of separating the prelude and fugue into two distinct sections in a piece (e.g. his Toccata and Fugue in D minor)

Bach organ 2

drew inspiration from organ composers like Buxtehude, Pachelbel, Froberger, and Frescobaldi; Bach known for his skill in improvisation, and his organ works feature rich counterpoint, virtuosity, and heavy use of the pedals

Bach organ 3

wrote abundant chorale settings for organ; his Orgelbüchlein
(Little Organ Book) contains 45 short chorale preludes, some with rich text depiction

Well-Tempered Clavier (1722 and c. 1740)

two books of 24 prelude and fugue pairs for each of the major and minor keys

The Goldberg Variations (1741)

30 variations, every third variation a canon; final variation a quodlibet

quodlibet

(Latin for “whatever you like” – a composition in which two or more existing melodies combined in counterpoint)

The Art of the Fugue

demonstrates all types of fugal writing (last fugue contains a subject that spells out his name B-A-C-H, with B = B-flat, H = B-natural in German nomenclature)

Chamber music

sonatas for solo instruments and harpsichord (often
slow-fast-slow-fast movement structure ~ sonata da chiesa)

Six sonatas and partitas for solo violin, among other solo works

(Chaconne from Partita no. 2 in D minor for solo violin
creates illusion of a polyphonic piece through multiple
strings played at once)

Orchestral music

various concertos, including his 6 Brandenburg Concertos (dedicated to Margrave of Brandenburg in 1721) that expand upon the fast-slow-fast three-movement structure and ritornello form of the Italian concerto

Cantata

18th-c. form of Lutheran church music that included recitatives, arias, chorale settings, and choruses (as differentiated from the Italian cantata)

Bach composed

3 and possibly 4 complete annual cycles of 60 cantatas each

Bach also wrote Passions (St. John Passion of 1724 and St. Matthew passion of 1727)

Bach’s musical settings of the Biblical Passion narratives that depict the crucifixion of Jesus

Mass in B Minor

Bach’s only complete setting of the Catholic Mass Ordinary, written towards the end of his life

Unlike Vivaldi, Rameau, and Bach

Handel lived and composed in different countries in Europe and earned renown as a major composer both in his day and after (the first composer whose music has never
ceased to be performed)

Born and studied in Germany

hen moved to Italy, and then to England, absorbing the different musical styles in each region (Germany → Italy → England)

Supported throughout his life by patron

(including the British monarchy), but much of his music written for publication and public consumption

Rinaldo (1711)

first Italian opera that he composed for London after
having just arrived from Italy; helped establish his reputation as a major composer

Worked for the English Royal Academy of Music

Produced some of his best operas for the company, including Guilio Cesare (Julius Caesar, 1724)

secco recitative

(singer accompanied by basso continuo only)

accompanied recitative

(accompaniment from the full orchestra)

Solo da capo arias represented a specific mood or affection (e.g. rage or vengeance arias

the lead female soprano (prima donna) showcased her
talents in arias with florid vocal ornamentation

coloratura

florid vocal ornamentation

Oratorios

Handel developed the English oratorio, with his extensive
use of choruses drawn from the English choral tradition

Saul (1739) and Messiah (1741)

feature impressive choral writing filled with abundant text depiction and singable vocal parts that contributed to their popularity.

Handel’s most popular instrumental works were his two orchestral suites written for outdoor performance

Water Music (1717, played from a boat on the River Thames for the king) and Music for the Royal Fireworks (1749, to accompany fireworks set off to celebrate the 1748
Peace of Aix-la-Chapelle)