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The Early Eighteenth

Century in Germany: Bach

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Key Terms & Concepts

Lutheran church cantataLutheran chorale

RitornelloRecitativeRecitativo secco

Recitativo accompagnatoDa capo ariaCantus firmus

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German Composers of the LateBaroque

In the 18 th Century, German-speaking composersbecame prominent in Europe for the first time Among the most outstanding: Telemann, Handel, the

Bach family, Haydn, and Mozart

Many German aristocrats performed and composedmusic Frederick the Great performed on the flute Anna Amalia (Duchess of Saxe-Weimar) was a

keyboard player, patron of music, & composer(including 2 singspiels )

In Britain (ruled by Hanover dynasty), publicperformances sustained music-making as aristocraticpatronage declined

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Johann Sebastian Bach (1685-1750) The historical view of

Bach differs fromestimation of him duringhis lifetime He was known as an

organist and a composerof learned works, but littleof his music waspublished or circulated

Contemporary criticsfound his music old-fashioned; Telemann wasmuch more famous than

Bach J.S.Bach in 1748 by Haussmann

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Johann Sebastian Bach (1685-1750) The historical view of

Bach differs fromestimation of him duringhis lifetime a revival of his music

occurred in early 19 th century Germany

Now, he is seen as one ofthe greatest of allcomposers

He wrote in all majorstyles and genres,

except opera J.S.Bach in 1748 by Haussmann

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J.S.Bach

He was born in Eisenach, into a large family ofmusicians; he learned violin from his father

He later lived with, and studied organ with, hisbrother (a student of Buxtehude)

He went to school at Lneburg There he met the organist Georg Bhm He encountered the French repertoire and

performance style He married twice

Maria Barbara Bach, 1707-1720 (7 children)

Anna Magdalena Bach, 1721 (13 children)

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J.S.Bach Career moves:

Arnstadt (1703-17),Mhlhausen (1707-08),Weimar (1709-14):organist; composed mostlyorgan music

Weimar (1714-17): Hebecame concertmasterand wrote sacred cantatas

Cthen (1717-23):became court musicdirector

Leipzig (1723-50):director of music at the

Thomaskirche & its school

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Nun komm, der Heiden Heiland,BWV 62

Composed 1724 for the first Sunday in Advent

Words and music both based on a Lutheranchorale hymn

Middle movements use poetic paraphrasesof the hymns middle stanzas, by anunknown librettist

Title: Now come, Savior of the heathens

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Nun komm, der Heiden Heiland,BWV 62

Six movements: I . Opening, chorus and orchestra

II. Tenor Aria (da capo) III. Bass Recitative (secco) IV. Bass Aria (da capo)

V. Accompanied Recitative for Soprano & Alto

VI. Closing chorale setting (hymnlike)

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Nun komm, der Heiden Heiland,BWV 62

Chorale Stanzas Movement &Voices

Movement Type Key

1 I. Chorus Chorale motet /concerto

B minor

2-3 II. Tenor Soloist Da capo aria withorchestra

G major

4-5 III. Bass Soloist Recitative withcontinuo

Modulating

6 IV. Bass Soloist Da capo aria,continuo w/ unisonorchestra

D major

7 5. Soprano & AltoSoloists

Accompaniedrecitative

Modulating

8 6. Chorus Choraleharmonization

B minor

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Nun komm, der Heiden Heiland,BWV 62

Opening chorus: based on chorale melody,features a mixture of concerto form andchorale motet Opening ritornello features the chorale melody

in the bass In place of episodes, the chorus sings in

polyphony, with the soprano singing the choralein c an t u s f i r m u s style

Four solo movements in middle: set sacred

texts in operatic idioms

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No. 4, Aria: Streite, siege, starker Held! (Recording on Blackboard)

Streite, siege, starker Held!Struggle, triumph, mighty hero! Sei vor uns im Fleische krftig!Be strong for us in the flesh.

Sei geschftig,Be active,Das Vermgen in uns SchwachenThat the abilities of us weak creaturesStark zu machen!

Will be made strong!

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No. 4, Aria: Streite, siege, starker Held!(Recording on Blackboard)

Ritornello | A | Ritornello |

| Stanza 1 |Rit. frag. | Stanza 1 repeat | | 1 8 | 9 23 | 23-24 | 25 44 | 44 51 | DM DM | DM AM | AM AM | AM DM | DM DM |

B | Da Capo (see below): Stanza 2 | rit. frag. | stanza 2 repeat | 52 61 | 61 64 | 64 75 | Bm Bm | Bm Bm | DM f#m |

Ritornello | A | Ritornello ||

| Stanza 1 |Rit. frag. | Stanza 1 repeat | || 1 8 | 9 23 | 23-24 | 25 44 | 44 51 || DM DM | DM AM | AM AM | AM DM | DM DM ||

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The Early Eighteenth

Century in Germany: Handel

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Key Terms & Concepts

English oratorioRitornelloRecitativeRecitativo seccoRecitativoaccompagnatoDa capo ariaCastrato (plural: castrati)

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Handel

Handel composed in every genre (sacredanthems, chamber and keyboard music,orchestral music, etc), but was particularlyknown for his operas and English oratorios, agenre he popularized

He never married; He lived with various patronsuntil 1723, when he moved into a house in anupper-class neighborhood

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Handel

He had a bold personality and could be difficult,but also had a sense of humor

Like Bach, he went blind late in life due tocataracts

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Handel

L:Handel as a boy;

R: Handels Birthplace in Halle, Germany

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Handels Life

Born in Halle, Germany to a barber-surgeon of theroyal court

After a year as cathedral organist, he moved toHamburg (center of German opera) at 17

Played in opera orchestra; wrote first opera at age 20 Age 21, invited to Italy by Medici family of Florence;

met Corelli and Scarlatti there, became nicknamed il

caro Sassone (The dear Saxon) Returned briefly to Hanover, Germany before moving

to England in 1710.

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Handels Life

Fired from his Hanover job in 1713 while inEngland The Elector of Hanover became King of

England in 1714 and rehired Handel, evengiving him back pay for 1713; Handels TeDeum was used at King George Is coronation

1718-1728: 60 wealthy gentlemen founded theRoyal Academy of Music for producing Italianoperas; Handel hired as music director, workingwith Italian singers (esp. sopranos and castrati)

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Castrato Plural: castrati Means ???

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Handels Life

25 Brook St.,London: Handelshome from 1723 tohis death in 1759

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Queens Theatre at Haymarket,London

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Handels Life 1729: Royal Academy dissolved; Handel and a

partner take it over. Competition with anothercompany nearly led both to bankruptcy by 1737 1732: Handel begins composing English

Oratorios : unstaged operas, frequently onsacred subjects, sung in English with significantchoral parts (reflecting the strong English choraltradition) Examples: Saul (1739), Messiah (1742) Presented during Lent, when opera was forbidden Oratorio became Handels main genre after his

opera theater closed in 1739

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Handel

His music was enormously popular in its day:when his Music for the Royal Fireworks(1749) was rehearsed, 12,000 peoplewatched (and clogged the streets of London)

He worked for the public as anentrepreneurial opera composer, as well as acommissioned composer for the English court(he had no official job as a court musician)

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(Music for the Royal Fireworks)

Gi li C (1724)

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Giulio Cesare (1724)(recording on Blackboard)

One of Handels best operas; written on a subjectfrom Greco-Roman antiquity (like many operas)

Used both recitativo secco (recitative + basso

continuo) and recitativo accompagnato (recit +orchestra, more dramatic in sound) mixed withda capo arias

Scene complexes: recits + arias form a coherentdramatic whole, not just set pieces (ex/ Act II,sc. 1- 2: note that Cesare interrupts Cleopatrasda capo aria for dramatic purposes)

Gi li C (1724)

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Giulio Cesare (1724)(recording on Blackboard)

Today is sung with women sopranos (pantsroles) or countertenors in roles originally held bycastrati

http://www.youtube.com/watch?v=6SjDxv80s8I (starting with Cesare, Dov, Niren, dov lanimamia?; total timing: 718): Film version by directorPeter Sellars with Jeffrey Gall as Caesar and SusanLarson as Cleopatra

http://www.youtube.com/watch?v=6SjDxv80s8Ihttp://www.youtube.com/watch?v=6SjDxv80s8I

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Saul (1733)(recording on Blackboard)

A Biblical oratorio about the first King ofIsrael

Note the blend of arias, recitatives andchoruses in a seamless mix of genres

Choruses frequently reflect on the dramaticnarrative (instead of arias which held this rolein opera)