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Chapter 7 LATE BAROQUE MUSIC BACH AND HANDEL Craig Wright’s Listening to Music, 4/edition

Chapter 7 LATE BAROQUE MUSIC BACH AND HANDEL Craig Wright’s Listening to Music , 4/edition

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Chapter 7 LATE BAROQUE MUSIC BACH AND HANDEL Craig Wright’s Listening to Music , 4/edition. Timeline. Late Baroque Aesthetic. Refinement rather than innovation Old forms polished and perfected Culmination of Baroque style Drama through contrast Large blocks of sound placed in opposition - PowerPoint PPT Presentation

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Page 1: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Chapter 7

LATE BAROQUE MUSIC BACH AND HANDEL

Craig Wright’s Listening to Music, 4/edition

Page 2: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Timeline

Page 3: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Aesthetic

• Refinement rather than innovation– Old forms polished and perfected– Culmination of Baroque style

• Drama through contrast– Large blocks of sound placed in opposition– Musical forms provide framework for contrast

Page 4: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Musical Style• Melody

– Principle of continuing development– Long, expansive, and irregular phrases– Melodic sequence

• Rhythm– The most distinctive and exciting element of Baroque music– Strong, recognizable sense of meter

• Harmony– Continuation of major and minor keys, basso continuo– Constant rate of harmonic change a new feature

• Texture: Return of counterpoint

Page 5: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Orchestra

• Modern symphony orchestra emerges– Rarely more than 25 players– More instruments added for festive occasions

Page 6: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Orchestra

• Modern symphony orchestra emerges• Strings form the core of the ensemble

– Violins replace viols– Multiple string players on each part

Page 7: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Orchestra

• Modern symphony orchestra emerges• Strings form the core of the ensemble• Woodwinds

– Oboes or flutes– Bassoon

Page 8: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Orchestra

• Modern symphony orchestra emerges• Strings form the core of the ensemble• Woodwinds• Brasses

– Trumpet or French horn– Both instruments usually played by one

musician

Page 9: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Orchestra

• Modern symphony orchestra emerges• Strings form the core of the ensemble• Woodwinds• Brasses• Percussion

– Rarely used in Baroque music– Parts were not written out

Page 10: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Late Baroque Orchestra

• Modern symphony orchestra emerges• Strings form the core of the ensemble• Woodwinds• Brasses• Percussion• Basso continuo still essential

Page 11: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Johann Sebastian Bach (1685-1750)• Career

• Weimar (1708-1717), organist• Cöthen (1717-1723), court composer and conductor• Leipzig (1723-1750), cantor

• Reputation• During his lifetime known more as a great organist than as

a composer• Brought the cantata to the highest point of development• The greatest composer of contrapuntal music in the history

of western music

Page 12: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Organ Fugue in G Minor (ca. 1710)• Subject: the theme that serves as the fugue’s primary musical idea

• Exposition: opening section of fugue during which each voice in turn presents the subject for the first time

• Episode: freer sections where the subject is not heard in its entirety• Definition of fugue

– A composition for three or more parts, either vocal or instrumental– Begins with each part presenting the subject one after the other – Continues with alternating passages of episodes and further appearances

of the subject

Page 13: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Brandenburg Concerto No. 5– Completed in 1721– Violin, flute, and harpsichord constitute the

concertino• Harpsichord treated as a soloist and not relegated to the

basso continuo• Considered the first concerto for a keyboard instrument

– First movement in Ritornello form• Nine ritornello sections

– Played by the tutti– Theme consists of two parts, A and B

Page 14: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Brandenburg Concerto No. 5 (cont)• Solo sections

– Concertino instruments play motives derived from ritornello themes

• Ritornello theme, part A

• Solo Section 1Last solo section concludes with a lengthy cadenza for the

harpsichord

Page 15: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Opera / CantataOPERA CANTATA

Purpose Secular entertainment Part of a Church service

Performance location Theater Church

Performance style Fully dramatized (staging,costumes, etc.)

Concert style(staging, costumes omitted)

Subject Classical mythologyAncient history

Gospel reading

Musical forms RecitativeDa capo aria

RecitativeDa capo ariaChorus

Accompaniment Orchestra Orchestra

Page 16: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Cantata: Awake, A Voice is Calling

• First performed on November 25, 1731, the last Sunday before Advent

• Text elaborates the Gospel reading: St. Matthew 25: 1-13• Wise and foolish virgins symbolize the contrast between

those who are prepared to receive the coming Christ and those who are not

• The message: get your spiritual house in order • Three movements for chorus based on the tune and text of

a traditional chorale» Chorale: German hymn tune» Awake, a Voice is Calling (Wachet auf)

Page 17: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Cantata: Awake, A Voice is Calling (cont.)

• First movement a chorale fantasy– Sopranos sing chorale tune in long tones– Altos, tenors, and basses sing contrapuntal lines

that reflect the meaning of the text– Orchestral accompaniment

• Opening ritornello introduces three motive• Orchestra plays an interlude between each phrase of

the chorale tune

Page 18: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

George Frideric Handel (1685-1759)• Career

• Hamburg (1703-1706)• Italy (1706-1710)• Hanover (1710)• London (1710-1759)

• Reputation• Most famous composer in Europe and a national institution

in England• Reputation continued to increase after his death• Perhaps the finest composer for chorus who ever lived

Page 19: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Water Music (1717)• Composed for a public entertainment• A dance suite

• A collection of instrumental dances– Each movement has its own distinctive rhythm and character– All movements in binary form (A and B)– Intended as concert music, not to accompany dancing

• Horn Pipe– Energetic dance derived from the country jig, a popular dance among sailors– Triple meter, with syncopations

• Minuet and Trio– Minuet a moderate, triple meter dance– Second minuet is shorter and called a trio

• Composition was an immediate success

Page 20: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

OPERA / CANTATA / ORATORIOOPERA CANTATA ORATORIO

Purpose Secular entertainment Part of a Churchservice

Sacred entertainment

Performancelocation

Theater Church Theater

Performancestyle

Fully dramatized(staging, costumes,etc.)

Concert style(staging, costumesomitted)

Concert style

Subject Classical mythologyAncient history

Gospel reading Biblical subjects

Musical forms RecitativeDa capo aria

RecitativeDa capo ariaChorus

RecitativeDa capo ariaChorus

Accompaniment Orchestra Orchestra Orchestra

Page 21: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

Messiah• Composed during the summer of 1741• Premiered in Dublin, Ireland, April, 1742

– Choir of 23 voices and small orchestra– Enthusiastic response

• Tells the story of Christ in a general way– Divided into three parts

• Prophecy and Incarnation of the Messiah• Triumph of the Gospel• Victory over Death

– Mood of lyrical meditation and exaltation• Nineteen choruses

Page 22: Chapter 7  LATE BAROQUE MUSIC  BACH AND HANDEL Craig Wright’s  Listening to Music , 4/edition

“Hallelujah” Chorus• Concludes Part II of the oratorio• Text based on passages from The Revelation of St. John

– Hallelujah (Rev. 19:6)– For the Lord God omnipotent reigneth (Rev. 19:6)– The kingdom of this world is become the kingdom of our Lord and of

his Christ (Rev. 11:15)– And he shall reign for ever and ever (Rev. 11:15)– King of Kings, and Lord of Lords (Rev. 19:16)

• Each phrase of the text given its own musical identity• Tradition states the George II was so moved that he rose to his

feet in admiration