Music 10 Exam 3 notes

The Baroque (1600-1750)

  • The term "Baroque," originally defined as "bizarre," encompasses not only music but also sculpture, art, and architecture.

Overview of the Baroque Era

  • During this period, the aristocracy in Europe was extremely powerful and influential.

    • A notable example is Louis XIV in France at the extravagant palace of Versailles.

  • The Church retained a significant role in society, although Europe was divided into Catholic and Protestant camps.

  • The Middle Class emerged, allowing more musicians from this class to pursue careers as performers in sponsored orchestras.

The Bizarre Baroque

  • The Baroque era features many of Western Art Music's most famous composers, including:

    • Johann Sebastian Bach

    • Antonio Vivaldi

    • George Frideric Handel

    • Henry Purcell

  • Compositional restrictions governed by church dogma gradually evolved into personal expression and experimentation regarding harmony, tonality, and melody.

  • The early Baroque period, characterized by a predominantly Renaissance homophonic approach (single melodic line with accompanying parts), transitioned into exclusively polyphonic compositions by the late Baroque period.

Characteristics of Baroque Music

  • Mood: Composers emphasized expression, influenced by the Doctrine of Affections, which highlighted emotional states such as:

    • Love/Hate

    • Joy/Sorrow

    • Elation/Grief

    • Wonder/Desire

  • Dynamics: Characterized by severe shifts in dynamics, called Terraced Dynamics, where music changed abruptly without warning.

  • Chords: The Renaissance period lacked harmony until its end, but the Baroque introduced a new focus on chords and the bass line in compositions.

    • Basso Continuo: This foundation comprised two instruments, typically one or two keyboard instruments (like a harpsichord or organ) combined with a cello or bassoon, providing a solid harmonic structure.

Musical Unity and Structures

  • Unity was a key component of Baroque compositions, which often featured Movements, resembling chapters in a book—independent parts of larger compositions that could be performed separately.

Baroque Society and Music

  • In the Baroque era, music was primarily created as entertainment for the aristocracy, performed in courts.

    • Wealthy courts like Louis XIV's and the Esterhazy’s in Hungary would hire their orchestras, composers, choirs, opera singers, and other instrumentalists, leading to competitive bidding wars for talented musicians.

  • Rulers often ensured their own musical futures by participating in operatic and instrumental performances. Notable examples include Frederick the Great, who performed in court concerts, and Louis XIV, who insisted on dancing lead roles in his productions.

Church and Music

  • Despite the thriving court music scene, the church remained the primary space for musical exposure among the masses. Common people were generally excluded from court concerts, and church musicians often earned significantly less than court musicians.

    • This disparity encouraged many composers to seek court sponsorship to further their musical aspirations.

The Role of Conservatories

  • In Italy, the establishment of conservatories (analogous to today's Juilliard or Paris Conservatory) originally provided shelter and musical training for orphaned children from the streets, some of whom went on to become the greatest composers and performers of the Baroque era.

  • Composers were integral to the Baroque period—without new compositions that were innovative and experimental, courts, churches, opera houses, and orchestras would not have achieved their social and political prominence.

Concerto Grosso Form

  • The Baroque era saw a transition from small church groups and solo performers to larger ensembles.

  • Notably, the Concerto Grosso evolved, consisting of a small group of soloists contrasted against a larger ensemble (usually the orchestra, referred to as Tutti).

  • Most concerto grossi are structured in three movements: Fast-Slow-Fast.

Brandenburg Concerto No. 5

  • Brandenburg Concerto No. 5 is a quintessential example of concerto grosso, composed by Johann Sebastian Bach (1685-1750).

    • It features a string orchestra and a group of soloists that alternate throughout the composition.

    • The material for soloists is virtuosic and display-oriented, while the Tutti (orchestra) maintains a more formal and supportive role.

    • Highlights include a challenging harpsichord solo, distinguished as one of the most demanding pieces in the keyboard repertoire.

The Birth of Opera

  • Opera, defined as drama sung to musical accompaniment, emerged as arguably the most popular genre during the Baroque period. It combined acting, scenery, poetry, music, and costumes to create a spectacle appreciated by audiences, debuting around 1600 in Italy.

    • Initially associated with royalty and requiring substantial funding for singers, costumes, and staging.

Ingredients of Opera

  • Key components of an opera include:

    • Libretto: The text or story of the opera.

    • Librettist: The author of the libretto, usually commissioned.

    • Impresario: The opera director responsible for promotion, direction, and execution of the production.

    • Singers/Soloists: Essential for the success of the opera as they attract audiences.

Voice Types in Baroque Opera

  • Opera featured diverse voice types, including:

    • Coloratura Soprano: A high, light range, capable of technical display (runs and trills).

    • Lyric Soprano: A light voice suited for graceful roles.

    • Dramatic Soprano: A powerful voice for passionate roles.

    • Lyric Tenor: A bright, light tenor sound.

    • Dramatic Tenor: Known for heroic and romantic roles.

    • Basso Buffo: A bass voice suited for comic roles with rapid singing.

    • Basso Profundo: A very low range, powerful with dignified dramatic roles.

Arias and Recitatives

  • Most audiences found enjoyment in Arias, which are solo songs featuring orchestral accompaniment, typically lasting several minutes and showcasing the singer's abilities in virtuosity.

  • Recitative is another form employed in opera, characterized by:

    • Secco Recitative: Accompanied solely by basso continuo (cello or harpsichord).

    • Accompagnato Recitative: Dramatically accompanied by a full orchestra.

    • Da Capo Aria: A common structure featuring an A-B-A formula, indicating a return to the A section after the B section.

The Florentine Camerata and the Birth of Opera

  • Opera was invented by the Florentine Camerata in Italy around 1575, aiming to create music reminiscent of Ancient Greek tragedies.

    • They desired a vocal line that followed recitative with simple accompaniment, rejecting polyphony that obscured the text.

The First Operas

  • The earliest known opera, Euridice, was composed by JACOPPO PERI for the marriage of King Henri IV of France and Maria d' Medici of Italy. It was based on the Greek myth of Orpheus's descent into Hell to retrieve Euridice.

  • Early operas often focused on themes from Greek mythology and history to enhance dramatic effect.

The First Opera Houses

  • The first opera house, Teatro San Cassiano, opened in Venice in 1637, leading to further establishments in Rome, Leipzig, London, and Paris.

  • Productions featured elaborate stage designs utilizing effects like flying chariots and flames to attract audiences.

The Castrati in Baroque Opera

  • The tradition of Castrati originated due to the limited availability of women to sing in operas during the Baroque era. Young boys were castrated to maintain high voices before puberty.

    • This practice was prevalent from 1600 to 1800, targeting boys with early musical talent, offering them fame and financial support through opera.

  • Castrati were compensated with high salaries, sometimes double that of the impresario and other performers, combining the lung power of a male with the vocal range of a female, enabling them to perform intricate music passages.

Recitatives and Arias in Baroque Opera

  • Secco Recitative is described as "dry" recitative, accompanied solely by a basso continuo.

  • Accompagnato Recitative is more dramatic and is accompanied by a full orchestra.

  • The Da Capo Aria is characteristic of Baroque arias, with an A-B-A structure indicating a return to the A section after the B section.

Claudio Monteverdi (1567-1643)

  • Monteverdi held a versatile career spanning the late Renaissance to Early Baroque and was employed by the Court of Mantua as music director. He bridged the gap between the Renaissance and Baroque periods.

Monteverdi's Works

  • His compositions encompassed various genres:

    • Madrigals: Vocal works for 4, 5, 6, and 7 voices.

    • Church Music

    • Opera: Known for emotional intensity and dissonant harmonies reminiscent of Gesualdo from the Renaissance.

Orfeo (1607)

  • Orfeo (1607) is one of Monteverdi's three masterpieces in opera, based on Orpheus's myth and his journey to the Underworld to save Euridice who dies from a snake bite.

    • The premiere featured notable royalty in attendance.

Characteristics of Orfeo

  • The opera comprises:

    • Recitatives

    • Arias/Duets

    • Choruses

    • Instrumental Interludes

    • The aria Tu Se' Morta depicts Orpheus mourning Euridice's death with a sparse homophonic texture and rhythmically free vocal line enhanced by word painting.

Henry Purcell and English Opera

  • Henry Purcell (1659-1695) was England’s foremost Baroque composer and remained significant until the 20th century. At 18, he became the composer for the King’s string orchestra and later the organist at Westminster Abbey.

Dido and Aeneas

  • Purcell's most notable work is the chamber opera Dido and Aeneas (1689), which represents England's entry into the opera scene dominated by Italy.

  • This work is considered a chamber opera due to its shorter length

    (approximately an hour) and reliance on strings and harpsichord, lacking the virtuoso focus of Italian opera.

    • The opera is based on the story from Virgil's epic poem, The Aeneid, focusing on Dido, Queen of Carthage, and her tragic love for Aeneas, leading to her demise.

    • The aria Thy Hand, Belinda is regarded as one of the most tragic and significant arias in operatic literature.