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Chapter 9: Toward Late Baroque Instrumental Music

Chapter 9: Toward Late Baroque Instrumental Music

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Chapter 9: Toward Late Baroque Instrumental Music. Towards Late Baroque Instrumental Music. About 80% of classical music is instrumental Instrumental music became prominent in the 17 th - century with the rising popularity of the violin - PowerPoint PPT Presentation

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Page 1: Chapter 9: Toward Late Baroque Instrumental Music

Chapter 9:Toward Late Baroque Instrumental Music

Page 2: Chapter 9: Toward Late Baroque Instrumental Music

Towards Late Baroque Instrumental Music• About 80% of classical music is instrumental

• Instrumental music became prominent in the 17th- century with the rising popularity of the violin

• Use of expressive gestures that had developed in vocal music

• Doctrine of the Affections also applied to instrumental music– Instrumental music could tell a tale or paint a scene

Page 3: Chapter 9: Toward Late Baroque Instrumental Music

The Baroque Orchestra• Orchestra: An ensemble of music, organized around a

core of strings, with added woodwinds and brasses, playing under a leader

• Origins in 17th-century Italy and France– Harpsichord for basso continuo

• Most Baroque orchestras were small, usually with no more than 20 performers, each with individual parts– Could swell to as many as 80 for special occasions at

artistocratic and royal courts• King Louis XIV at Versailles, with composer Jean-

Baptiste Lully (1632-1687) as conductor

• New musical genre: French Overture– Slow introduction, fast second section

Page 4: Chapter 9: Toward Late Baroque Instrumental Music

Pachelbel and His Canon• Johann Pachelbel (1653-1706): Known in his day as a

prolific composer for harpsichord and organ

• Canon in D: – Use of imitative canon with three voices plus basso

continuo that unfolds over time

– First movement of a two-movement suite

– Use of basso ostinato repeated 28 times

– Bass line used by later classical composers as well as pop musicians

Page 5: Chapter 9: Toward Late Baroque Instrumental Music

Corelli and the Trio Sonata

• Originated in Italy

• Baroque Sonata: A collection of instrumental movements, each with its own mood and tempo, but all in the same key– Chamber Sonata (sonata da camera): featured dance

movements, such as “allemande,” “sarabande,” “gavotte,” or “gigue;” four movements: slow-fast-slow-fast

• Solo Sonata: Written either for solo keyboard instrument or solo melody instrument (such as violin)

• Trio Sonata: Soloist and two basso continuo performers– Sometimes a fourth instrument, harpsichord, is added to

bass

Page 6: Chapter 9: Toward Late Baroque Instrumental Music

Arcangelo Corelli (1653-1713)• Composer-virtuoso who made Baroque solo and trio

sonatas internationally popular

• Worked in Rome as a teacher, composer, and violin performer

• Works admired by Johann Sebastian Bach in Leipzig, François Couperin in Paris, and Henry Purcell in London

• Modern sounding harmony– Functional harmony: each chord has a specific role or

function

– Use of ascending chromatic bass lines: increases the sense of direction and cohesiveness

Page 7: Chapter 9: Toward Late Baroque Instrumental Music

Trio Sonata in C Major, Opus 4, No. 1 (1694)• Chamber sonata for two violins and basso continuo

(harpsichord and cello)

• Four movements: Preludio, Corrente, Adagio, Allemanda

• Use of a walking bass: moves stepwise either up or down

Page 8: Chapter 9: Toward Late Baroque Instrumental Music

Vivaldi and the Baroque Concerto• Concerto: An instrumental genre in which one or more

soloists play with and against a larger orchestra– Solo concerto: one soloist

– Concerto grosso: small group of soloists (concertino)

– Tutti: full orchestra

• Three movements: fast-slow-fast

• Ritornello form: Main theme (ritornello) returns again and again; alternates with solo, virtuosic sections

• Popularity peaked about 1730

• Solo concerto continued to be cultivated during the Classical and Romantic period– Became a showcase for a single soloist

Page 9: Chapter 9: Toward Late Baroque Instrumental Music

Antonio Vivaldi (1678-1741)• Most influential and prolific composer of Baroque

concerto

• Virtuoso violinist and composer – Wrote over 450 concertos

• Ordained as a priest– Nicknamed “The Red Priest” due to his red hair

• Taught at the Ospedale della Pietà (an orphanage and convent for young women) in Venice from 1703-1740– Sunday performances for the wealthy and the

artistocratic

Page 10: Chapter 9: Toward Late Baroque Instrumental Music

Violin Concerto in E Major, Op. 8, No. 1, “Spring”

• The Four Seasons: set of four concertos that depict the feelings, sounds, and sights of the seasons– Vivaldi wrote an “illustrative sonnet” for each

• “Spring” Concerto, first movement (early 1700’s)– Ritornello form

– Highly descriptive writing

– Terraced dynamics

– Use of melodic sequence