3. BAROQUE
Pannini - Musical Feast (1747)
1. INTRODUCTION
Baroque is the artistic period that runs from the 17th century to the mid-18th century (from the first preserved opera in 1600 to the death of J. S. Bach in 1750).
"Baroque" comes from the Portuguese word "barrueco", referring to a rough or imperfect pearl.
Music was at the services of the absolute monarchies, the aristocracy and the Church, who used it as another manifestation of their power.
Characteristics​
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Frequent use of contrasts in different elements of music (rhythm, tempo, melody, timbre, etc.).
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Rhythm: varied with a steady and regular pulse.
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Melody: complex and elaborated, with frequent ornamentation.
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Harmony: tonal. The use of tonality was established.
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Texture: accompanied melody with basso continuo (bass line over which chords are built up).
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Timbre: the orchestra emerged.
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Dynamics: frequent use of sudden dynamic changes. They used these techniques:
- Terraced dynamics: abrupt alternation between many performers to make it sound loud and few to make it sound soft.
- Echoing: a loud presentation (forte) and a soft repetition (piano). -
Expression of affections: music tried to express emotions such as rage, joy, sorrow, etc.
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Composers
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ltaly: Monteverdi, Vivaldi, Frescobaldi, Corelli, Francesca Caccini, Barbara Strozzi.
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Germany: J. S. Bach, Praetorius, Schütz, Telemann.
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England: Händel, Purcell.
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France: Lully, Charpentier, Couperin.
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Spain: Juan Hidalgo, Antonio Literes, José de Nebra, Sebastián Durón.
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2. PROFANE VOCAL MUSIC
Opera was the main profane vocal form and it was written for orchestra, choir and soloists. It emerged in the early 17th century in Florence thanks to a group of intellectuals led by Count Bardi, called Camerata fiorentina, who wanted to revive Greek classical theatre combining poetry, music and dance.
- The first preserved opera is Euridice by Jacopo Peri (1600).
- The first important opera is L’Orfeo by Claudio Monteverdi (1607).
Fundamental parts of an opera:
- Recitative: vocal opera part between spoken word and singing that facilitates the progress of the plot.
- Aria: melodic vocal opera part sung by a soloist to express emotions and demonstrate his/her skills.
- Overture: instrumental opera part that serves as introduction.
- Interludes: instrumental opera parts that link the different sections together.
Choruses and ballets were included occassionally.
The castrati were male singers that were castrated before puberty to preserve their child's voices, but with all the lung capacity of an adult male. They became the first music idols in history. The most famous castrato was Farinelli, and there were other well known castrati such as Ferri, Senesino and Pacchierotti.
Monteverdi - L'Orfeo (59:53 Caronte; 1:31:00)
Händel - Rinaldo. Aria "Lascia ch'io pianga"
3. RELIGIOUS VOCAL MUSIC
Opera decisively influenced new religious vocal forms, written for orchestra, choir and soloists; and structured as a sequence of arias, recitatives and choruses.
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Oratorio: religious vocal form with a sacred theme, performed without costumes or elaborate staging.
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Passion: religious vocal form about the death of Christ, usually performed during Holy Week.
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Cantata: religious or profane vocal form that literally means "sung" in Italian.
Main oratorio composer was George Friedrich Händel (Messiah).
Main passion and cantata composer was Johann Sebastian Bach.
G. F. Händel - Oratorio Messiah. "Hallelujah"
J. S. Bach - Cantata BWV 147
"Jesus bleibet meine Freude"
4. INSTRUMENTAL MUSIC
Instrumental music achieved a definitive independence from vocal music, due to:
- The technical evolution of instruments, thanks to luthiers such as Stradivarius, Amati or Guarnieri.
- The birth of the Baroque orchestra, consisting mainly of bowed strings and a harpsichord as the basso continuo.
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Concerto: instrumental form in 3 contrasting movements (fast–slow–fast) featuring musical dialogue between instruments. Types:
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Concerto grosso: dialogue between a small group of instruments (concertino) and the full orchestra (tutti, grosso, ripieno). E.g. Corelli.
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Concerto a solo: dialogue between a soloist and the full orchestra. E.g. Four Seasons by Vivaldi.
Corelli - Concerto grosso Op. 6 n. 3
(concertino: violin I, violin II & cello)
Vivaldi - Concerto a solo per mandolino RV. 425
(soloist: mandoline)
Suite: instrumental form made up of several dances that differ in character, rhythm, and tempo, derived from Renaissance dance traditions. Main dances:
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Allemande: slow and stately German dance in 4/4, that literally means "German".
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Courante: lively French dance in 3/4.
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Sarabande: slow and stately Spanish dance in 3/4.
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Gigue: fast English dance in 6/8.
Charles Dieupart - Suite n. 6 en fa mineur 4. Sarabande
Charles Dieupart - Suite n. 6 en fa mineur 7. Gigue
Toccata: instrumental form for keyboard, improvisatory and virtuosic in character, with fast runs and arpeggios.
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Fugue: instrumental form with a contrapuntal texture, based on a theme (subject) introduced by one voice and successively imitated by the others.
J. S. Bach - Toccata & fugue in D minor BWV. 565
J. S. Bach - Little Fugue BWV. 578
Instruments
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String: violin (1), viola d’amore (2), mandolin (3), theorbo (4), harpsichord (5).
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Wind: piccolo (6), transverse flute (7), oboe (8), bassoon (9), trumpet (10), horn (11).
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Percussion: timpani (12).
5. LISTENING EXAMPLES
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RELIGIOUS VOCAL MUSIC
Händel - "Hallelujah" (from the Messiah oratorio)
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Rhythm: quadruple time signature (4/4).
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Texture: monophony, homophony and polyphony.
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Timbre: choir and orchestra.
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Form: chorus of oratorio (binary form AABB).
INSTRUMENTAL MUSIC
Vivaldi - "Spring" (from The Four Seasons)
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Rhythm: quadruple time signature (4/4).
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Texture: accompanied melody.
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Timbre: soloist violin and orchestra.
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Form: concerto a solo with ritornelli (rondo ABACA...).