Late Baroque Music (1710-1750 AD)

Instrumental
1. Sonata
  1. Chamber Music
  2. Played in home
  3. Collection of short movements
    1. Movement
      1. An independent section of a larger instrumental work
    2. Most are 4-6 movements
    3. Each movement has a dance like character
      1. Allemand, sarabarde, gavotte, gigne
      2. Played as concert music
        People didn't dance
        Stylized dance music
  4. Ways to designate a sonata
    1. By People
      1. Solo Sonata
        A soloist and two performers playing basso continuo
      2. Trio Sonata
        Three Parts
        Melody 1
        Melody 2
        Basso Continuo
    2. By Location
      1. Sonata da Camera
        "Chamber"
        Residential Settings
        Movements bore the name and character of a particular dance
      2. Sonata da Chiesa
        "Church"
        Performed during church services
        Movements are designated by tempo markings
        Considered inappropriate to play secular music in church
2. Concerto
  1. Marked by a friendly contest or competition between a soloist and an orchestra
    1. Solo Concerto
      1. One soloist and an orchestra
    2. Concerto Grosso
      1. A small group of soloists (2-4) and an orchestra
        Soloists
        Concertino
        "Little Concert"
        Normally first chair players
        More virtuosic style
        Orchestra
        Tutti
        "Everybody"
    3. Typically three movements
      1. First
        Serious
        Ritornello Form
      2. Second
        Lyrical and tender
        Free Form
      3. Third
        Often rustic, dance-like character
        Ritornello Form
        Refrain, Return
        All/part of main theme returns throughout the movement
        Played by tutti
      4. Fast, Slow, Fast
Antonio Vivaldi
1. 1678-1741
2. Career
  1. A virtuoso violinist who gave concerts throughout Europe
  2. Noted Teacher
    1. Associated with the Ospedale della Pieta from 1703-1740
      1. Taught music lessons and conducted orchestra
        Ultimately become its music director
    2. Composed hundreds of solo concertos for the all female orchestra
Baroque Asthetic
1. Refinement rather than innovation
  1. Old forms polished and perfected
  2. Culmination of Baroque style
2. Drama through contrast
  1. Large blocks of sound placed in opposition
  2. Musical forms provide framework for contrast
3. Melody
  1. Continuing Development
  2. Long, expansive and irregular phrases
  3. Melodic Sequence
4. Rhythm
  1. Most distinctive and exciting element
  2. Strong recognizable sense of meter
5. Texture
  1. Return of counterpoint
Orchestra
1. Rarely more than 25 players
2. More instruments added for festive occasions
3. Strings form the core of the ensemble
  1. Violins replace viols
  2. Multiple sting players per part
4. Woodwinds
  1. Oboes or flutes
  2. Bassoons
5. Brasses
  1. Trumpets or French horn
    1. Both usually played by same musican
6. Percussion
  1. Rarely Used
  2. Parts were not written out
7. Basso continuo still essential
Johann Sebastian Bach
1. 1685-1750
2. Career
  1. Weimar
    1. 1708-1717
    2. Organist
  2. Cöthen
    1. 1717-1723
    2. Court conductor and composer
  3. Leipzig
    1. 1723-1750
    2. Cantor
  4. Typical Baroque musical patronage
3. Reputation
  1. Incredible improviser
  2. Known more as a great organist than as a composer
  3. Brought the cantata to the highest point of development
  4. Arguably the greatest composer of contrapuntal music in the history of Western music
Fugue
1. Subject
  1. The theme that serves as the fugue's primary musical idea
2. Exposition
  1. Opening Section
  2. Each voice in turn presents the subject
3. Episode
  1. Freer sections where the subject is not heard in its entirety
4. Three or more parts (vocal/instrumental)
Cantata: Awake a voice is calling
1. Matthew 25:1-3
Handel
1. Career
  1. Hamburg
    1. 1703-1706
  2. Italy
    1. 1706-1710
  3. Hanover
    1. 1710
  4. London
    1. 1710-1759
  5. New free market support of music emerges
2. Reputation
  1. Most famous composer in Europe and a national institution in England
  2. Fame continued to increase after death
  3. Scholars (e.g. William Weber) argue that the English canon largely formed around Handel

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Late Baroque Music (1710-1750 AD)

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