{"id":2013,"date":"2017-04-13T03:34:30","date_gmt":"2017-04-13T03:34:30","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=2013"},"modified":"2020-04-11T21:51:25","modified_gmt":"2020-04-11T21:51:25","slug":"history-baroque-period","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/history-baroque-period\/","title":{"raw":"History - Three Periods","rendered":"History – Three Periods"},"content":{"raw":"

Brief descriptions of\u00a0 the\u00a0 Three Periods of the Baroque\u00a0<\/span><\/h2>\r\n

I. Early baroque music (1580\u20131630)<\/span><\/strong><\/h2>\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?<\/span>\r\n\r\nMonody and the Florentine Camerata: \u00a0<\/strong>The development of monody was one of the defining characteristics of early\u00a0Baroque\u00a0practice, as opposed to late\u00a0Renaissance\u00a0style (where vocal lines sang independently). The \u00a0Renaissance polyphony often compromised the \u00a0meaning and expression of the text. \u00a0Existing musical genres adopted the style of monody coming out of the renaissance were the madrigal and the motet both of which evolved into solo forms after 1600. The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama. They based their ideals on a perception of Classical (especially\u00a0ancient Greek) musical drama that valued discourse and oration.\u00a0<\/em><\/strong>One of the aims of the scholars in the Florentine Camerata was to make the music serve the text<\/span>. They objected to the obscuring of the text and its meaning\u00a0 which was\u00a0 common in late Renaissance polyphony. The new musical style reflective of the text and was more expressive. To accomplish this, they looked back to the traditions of ancient Greek drama\u2014or at least to their limited understanding of those traditions. The result\u00a0 was the singing style we refer to as monody.<\/strong>\u00a0 Monody had an enormous influence on the emerging vocal genres of opera, cantata, and oratorio of the Baroque period. \u00a0The term\u00a0refers to a solo vocal style distinguished by a single\u00a0melodic\u00a0line and instrumental accompaniment.<\/span>\u00a0 Compositions in monodic style could madrigals, motets, or even\u00a0concertos\u00a0(in the earlier sense of \"concertato,\" meaning \"with instruments\").\r\n\r\n[caption id=\"attachment_265\" align=\"alignright\" width=\"270\"]\"Figure Figure 1. Caccini, Le Nuove musiche, 1601, title page[\/caption]\r\n\r\nSo monody \u00a0developed out of an attempt by the\u00a0Florentine Camerata\u00a0in the 1580s to restore\u00a0ancient Greek\u00a0ideas of melody and declamation style. and early Baroque composer\u2019s endeavored to have the music conform to the natural rhythm and meaning of the text.\u00a0 To summarize -\u00a0 Monody represents a reaction to the complex polyphony of late Renaissance which\u00a0 often minimized\u00a0 the \u00a0true expression of the \u00a0text. It \u00a0could \u00a0obscure the independent melodic lines.<\/span>\r\n\r\nBasso continuo<\/strong>\r\nBasso continuo parts \u00a0provided the harmonic structure of the music. The term basso continuo<\/em><\/strong> is \u00a0is often shortened to continuo<\/i><\/strong>. The basso continuo style\u00a0 is a supporting harmony for the melody or solo parts of a composition. During the Baroque period this supporting harmony\u00a0 used a \"continuo\"\u00a0 style during \u00a0the baroque period. The instrumentalists playing the continuo part are called the continuo group<\/i>. Note that\u00a0 only one person could also play the continuo part.\r\n\r\nThe\u00a0 basso continuo involved\u00a0 a keyboard instrument such as the harpsichorf and\u00a0 a and a\u00a0 continuo instrument\u00a0often a cello or bassoon. The\u00a0 bass line - lowest part -\u00a0 \u00a0is\u00a0 performed \u00a0by a\u00a0 continuo instrument. In the continuo style is the same as\u00a0 the \u00a0bass line played by a keyboard instrument.\u00a0 Thus the lowest line is reinforced by both the harpsichord and the continuo instrhument.\u00a0 The harpsichored woudl then improvise\u00a0 the \u00a0chords (harmony) above this reinforced\u00a0 \u00a0bass line or\u00a0continuo<\/span><\/span>.<\/span>\r\n\r\nThe chords which the keyboard instrument performs are determined by a \u00a0figured bass \u00a0<\/strong>a\u00a0series of numbers and symbols written \u00a0beneath the bass line illustrating to the keyboard player \u00a0which \u00a0chords or harmonies are to be played.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?<\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=247&action=edit<\/span>\r\n\r\nOther keyboard instruments could also perform the figured bass or \u00a0chords such as the \u00a0organ, lute, \u00a0guitar, or harp. The instruments performing the bottom \u00a0continuo (bass) line could be bassoon or even double bass in addition to the cello.\r\n\r\nSummary: \u00a0the keyboard \u00a0player \"realizes\"\u00a0 \u00a0(improvises) a continuo part by playing bass continuo line plus \u00a0the upper notes to complete chords, either determined ahead of time or improvised in performance. The cello or other bass instrument \u00a0doubles the continuo line.\u00a0 The keyboard instrument\u00a0 gives added weight to the lowest part. Often the\u00a0 keyboard player fills in the middle parts (chords)\u00a0 using\u00a0 musical judgment \u00a0in improvising with\u00a0 the figured bass parts. Experienced players often incorporate motives found in the other instrumental parts.<\/em>\r\n\r\nWith the end of the Baroque period, the \u00a0basso continuo \u00a0fell out of fashion and was rarely heard in the music of the Classical era and beyond. The exception to this was in secco recitative in Classical opera, which continued\u00a0to make use of sparse, improvised harmony on the harpsichord, though not of the harpsichord-cello pairing of Baroque continuo.\r\n
A \u00a0basso continuo line in a piece of music is a strong indication that the piece is from the Baroque period.<\/div>\r\n

<\/h3>\r\nEvolution<\/b>\u00a0of Tonality:<\/strong> In the baroque, the use of harmony is directed towards tonality, rather than modality, marking the shift from the Renaissance into the Baroque period. Chords, rather than notes, could provide a sense of direction\u00a0 in harmony. The concept\u00a0 is known as tonality.<\/span>\r\n\r\nClaudio Monteverdi furthered the transition from the Renaissance style of music to that of the Baroque period.\r\n\r\nHe developed two individual styles of composition\u2014(prima pratica)<\/strong> the heritage of Renaissance polyphony and (seconda pratica)\u00a0\u00a0<\/strong>the new basso continuo technique of the Baroque.<\/strong>\u00a0 \u00a0 With his operas (L'Orfeo<\/i> and L'incoronazione di Poppea<\/i> among others),\u00a0 Monteverdi brought considerable attention to this new genre.\r\n

II.\u00a0 Middle baroque music (1630\u20131680)\u00a0 - the centralized court and chamber music<\/span><\/h3>\r\nThe rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France<\/strong>. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music.<\/span>\r\n\r\nThe middle Baroque period in Italy<\/strong> is defined by the emergence of the cantata, oratorio, and opera\u00a0during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words.\u00a0 These melodies were built from short\u00a0 \u00a0 melodic ideas often based on stylized dance patterns<\/span> drawn from the sarabande or the courante. The harmonies, too, might be simpler\u00a0than in the early Baroque monody, and the accompanying bass lines were more integrated with the melody in\u00a0anticipation of the aria.<\/span>\r\n\r\n[caption id=\"attachment_227\" align=\"alignright\" width=\"250\"]\"Figure Figure 2. Jean-Baptiste Lully[\/caption]\r\n\r\nIntegral components of cantatas, operas and oratorios were the\u00a0recitative and aria.<\/em>Th simplified melodies and harmonies (Previous paragraph)\u00a0 led to this.\u00a0\u00a0Early Roman\u00a0 composers of This\u00a0 style were\u00a0 Luigi Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively. Also included is the\u00a0 Venetian\u00a0 Francesco Cavalli\u00a0 principally an opera composer. Later important practitioners include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella.<\/strong>\r\n\r\nJean-Baptiste Lully:\u00a0\u00a0<\/strong>One pre-eminent example of a court style composer is Jean-Baptiste Lully.\u00a0 He completed 15 lyric tragedies.\u00a0Instrumental ensembles featured \u00a0the string-dominated \u00a0orchestras, a trait inherited from the Italian opera.\u00a0 He introduced\u00a0 these ensembles to the lyric theatre, Upper parts were\u00a0 often doubled by recorders, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes.\r\n\r\n[caption id=\"attachment_228\" align=\"alignright\" width=\"250\"]\"Figure Figure 3. Arcangelo Corelli[\/caption]\r\n\r\nCorelli and Lully:<\/strong>\r\nArcangelo Corelli\u00a0 a violinist who organized violin technique.and pedagogy advocated particularly for the development of the\u00a0concerto grosso.\u00a0Whereas Lully was ensconced at court, Corelli publishd widely. His music was\u00a0 performed all over Europe. As with Lully's stylization of the opera, the concerto grosso is built on strong contrasts\u2014sections alternate between those played by the full orchestra, and those played by a smaller group.<\/em> Dynamics were \"terraced\", that is with a sharp transition from loud to soft and back again. Fast sections and slow sections were juxtaposed against each other. Among his students is Antonio Vivaldi, who later composed hundreds of works based on the principles in Corelli's trio sonatas and concerti.\r\n

III.\u00a0 Late baroque music (1680\u20131730)<\/span><\/strong><\/h3>\r\nThe \u00a0legacy of \u00a0the Late Baroque period is its enormous number of operas (such as Handel's Serse<\/i>), \u00a0oratorios, (two of the greatest being the St. Matthew's Passion<\/i> by J.S. Bach, \u00a0and Handel's magnificent Messiah<\/i>). These two oratorios which typify the sense of opulence and splendor associated with this period. Other major musical contributions of the Late Baroque era were various dance forms, such as the minuet, gigue, courante, allemande, and sarabande. These dances reflected movements that were ornamental, \u00a0another key feature of this particular time in the history of music.\u00a0A wide range of instruments performed in the Late Baroque period\u00a0 Harmonic accompaniment was usually provided by a harpsichord.\r\n\r\nConcerto Grosso:\u00a0\u00a0<\/strong>The c<\/i>oncerto grosso developed by coreilli\u00a0was\u00a0 the key instrumental form of the Late Baroque period. It reflected the contrast between two groups of instruments: one\u00a0 - a small body of string soloists, known as concertino, concertato,<\/i> or concertante<\/i>; the other - known as the ripieno<\/i>, formed the larger string section. The two groups would either alternate with one another or, at times, play together. Some of the greatest concerti grossi<\/i> are those by Corelli, J.S. Bach, and Handel. It was from this early concerto form that the later Classical and Romantic concertos developed.\" -In Classical Mood<\/i>\r\n\r\nDomenico Scarlatti <\/i>(1685-1757)<\/strong> \u00a0Born in Naples \u00a0Domenico was brother to organist Pietro Filippo Scarlatti and son to the famous composer Alessandro Scarlatti. Domenico himself was a harpsichordist and composer. He was a pupil of his father and in 1701 was appointed organist and composer to the court at Naples.\r\nHis works include oratorios, church music, cantatas, around 600 harpsichord pieces (sonatas).\r\n\r\nJohann Sebastian Bach <\/i>(1685-1750)<\/strong>\r\nBorn in Eisenach on March 21, the most famous Bach of all was an organist and composer born into a German family of musicians that spanned two centuries. \u00a0Appointed violinist in the court orchestra of the Duke of Weimar in 1703, but \u00a0the same year became organist in Arnstadt. In 1705 he took leave to travel to L\u00c4beck, to hear Buxtehude an influencial artist in his life, play. IN 1708 he returned to Weimar as court organist, remaining there for nine years. In 1717, he was appointed Kapellmeister<\/i> to the court of Prince Leopold of Anhalt-C\u016bthen. \u00a0Bach had little opportunity for church music and there he wrote mainly instrumental works. In 1723 he returned to church work when he became\u00a0Cantor of St. Thomas's in Leipzig, where he remained for the rest of his life. In 1747 he visited the court of Frederick the Great at Potsdam, where his second son, Carl Philipp Emanuel, was court harpsichordist. Two years later his eyesight failed; an operation in 1750 was unsuccessful, and he spent his last months totally blind until he died on the 28th of July in Leipzig.\r\n\r\nGeorge Frideric Handel <\/i>(1685-1759)<\/strong>\r\nBorn in Halle on the 23rd of February, this German-English composer was born to a barber-surgeon who initially opposed his son's entrance into the musical profession. Handel studied with Zachow in Halle and in 1702 matriculated at the university there to read law, at the same time holding the probationary post of organist at the Domkirche. The next year he left for Hamburg, where he played violin, later harpsichord, at the opera under Keiser, and had the operas Almira<\/i> and Nero<\/i> produced in 1705. He also made a great reputation as a harpsichordist. \u00a0In 1710 he was appointed to succeed the latter as Kapellmeister<\/i> to the Elector of Hanover, but left almost immediately on leave of absence for London, where Rinaldo<\/i> was produced with great success the next year. Again in London on leave in 1712, he settled there, never returning to his post in Hanover. Between 1712 and 1715 he produced 4 operas, and in 1713 composed a Te Deum<\/i> and Jubilate<\/i> to celebrate the Peace of Utrecht, receiving a life pension from Queen Anne. On her death in 1714 the Elector of Hanover succeeded to the throne as George I, but apparently took a lenient view of his former Kapellmeister's<\/i> truancy, for Handel's pension was soon doubled. As music director to the Earl of Carnavon (later Duke of Chandos) 1717-20, he wrote the Chandos Anthems, Acis and Galatea<\/i> and the masque Haman and Mordecai<\/i>.\r\n\r\n1720 began Handel's most prolific period as an opera composer, and over the next 20 years he wrote more than 30 works. Handle \u00a0increasingly turned to oratorio in the 1730s due to economic constraints of the times. \u00a0Esther<\/i> (a revision of the masque Haman and Mordecai<\/i>), 1732, was followed by Deborah<\/i>, Saul<\/i> and Israel in Egypt<\/i>. His last opera was produced in 1741, after which he devoted his time chiefly to oratorio. His most well know oratorio , Messiah<\/i>\u00a0was produced in Dublin in 1742, followed by 12 more. He continued to appear in public as a conductor and organist, playing concertos between the parts of his oratorios, but his health declined and he spent his last years, like Bach, in blindness.\r\n\r\nDances (c.1745) <\/b>\r\nTo see more information about the minuet, gigue and other dances of the time, go to: \u00a0http:\/\/mandry.net\/veryan\/georgian\/gmusic.html<\/span>\r\n\r\nA continuous worker, Handel borrowed from others and often recycled his own material. He was also known for reworking pieces such as the famous Messiah<\/i>, which premiered in 1742, for available singers and musicians.\r\n\r\nThe work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi, Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced the Baroque era to its climax.\u00a0Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of composition for future musical eras. The composers of the late baroque had established their feats of composition long before the works of Johann Fux.\r\n\r\nA continuous worker, Handel borrowed from other composers and often \"recycled\" his own material. He was also known for reworking pieces such as the famous Messiah<\/i>, which premiered in 1742, for available singers and musicians.\r\n\r\n\u00a0\u00a0<\/span>\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=134&action=edit \u00a0 \u00a0 \u00a0(From Music 101 (Santa Ana)<\/span><\/strong>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=133&action=edit \u00a0 (Santa Ana) \u00a0 \u00a0<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-admin\/post.php?post=801&action=edit \u00a0(Santa Ana course)<\/strong><\/span>\r\n\r\n\u00a0Also revisions \u00a0by Robert Ford<\/strong><\/span>","rendered":"

Brief descriptions of\u00a0 the\u00a0 Three Periods of the Baroque\u00a0<\/span><\/h2>\n

I. Early baroque music (1580\u20131630)<\/span><\/strong><\/h2>\n

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Monody and the Florentine Camerata: \u00a0<\/strong>The development of monody was one of the defining characteristics of early\u00a0Baroque\u00a0practice, as opposed to late\u00a0Renaissance\u00a0style (where vocal lines sang independently). The \u00a0Renaissance polyphony often compromised the \u00a0meaning and expression of the text. \u00a0Existing musical genres adopted the style of monody coming out of the renaissance were the madrigal and the motet both of which evolved into solo forms after 1600. The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de’ Bardi to discuss and guide trends in the arts, especially music and drama. They based their ideals on a perception of Classical (especially\u00a0ancient Greek) musical drama that valued discourse and oration.\u00a0<\/em><\/strong>One of the aims of the scholars in the Florentine Camerata was to make the music serve the text<\/span>. They objected to the obscuring of the text and its meaning\u00a0 which was\u00a0 common in late Renaissance polyphony. The new musical style reflective of the text and was more expressive. To accomplish this, they looked back to the traditions of ancient Greek drama\u2014or at least to their limited understanding of those traditions. The result\u00a0 was the singing style we refer to as monody.<\/strong>\u00a0 Monody had an enormous influence on the emerging vocal genres of opera, cantata, and oratorio of the Baroque period. \u00a0The term\u00a0refers to a solo vocal style distinguished by a single\u00a0melodic\u00a0line and instrumental accompaniment.<\/span>\u00a0 Compositions in monodic style could madrigals, motets, or even\u00a0concertos\u00a0(in the earlier sense of “concertato,” meaning “with instruments”).<\/p>\n

\"Figure<\/p>\n

Figure 1. Caccini, Le Nuove musiche, 1601, title page<\/p>\n<\/div>\n

So monody \u00a0developed out of an attempt by the\u00a0Florentine Camerata\u00a0in the 1580s to restore\u00a0ancient Greek\u00a0ideas of melody and declamation style. and early Baroque composer\u2019s endeavored to have the music conform to the natural rhythm and meaning of the text.\u00a0 To summarize –\u00a0 Monody represents a reaction to the complex polyphony of late Renaissance which\u00a0 often minimized\u00a0 the \u00a0true expression of the \u00a0text. It \u00a0could \u00a0obscure the independent melodic lines.<\/span><\/p>\n

Basso continuo<\/strong>
\nBasso continuo parts \u00a0provided the harmonic structure of the music. The term basso continuo<\/em><\/strong> is \u00a0is often shortened to continuo<\/i><\/strong>. The basso continuo style\u00a0 is a supporting harmony for the melody or solo parts of a composition. During the Baroque period this supporting harmony\u00a0 used a “continuo”\u00a0 style during \u00a0the baroque period. The instrumentalists playing the continuo part are called the continuo group<\/i>. Note that\u00a0 only one person could also play the continuo part.<\/p>\n

The\u00a0 basso continuo involved\u00a0 a keyboard instrument such as the harpsichorf and\u00a0 a and a\u00a0 continuo instrument\u00a0often a cello or bassoon. The\u00a0 bass line – lowest part –\u00a0 \u00a0is\u00a0 performed \u00a0by a\u00a0 continuo instrument. In the continuo style is the same as\u00a0 the \u00a0bass line played by a keyboard instrument.\u00a0 Thus the lowest line is reinforced by both the harpsichord and the continuo instrhument.\u00a0 The harpsichored woudl then improvise\u00a0 the \u00a0chords (harmony) above this reinforced\u00a0 \u00a0bass line or\u00a0continuo<\/span><\/span>.<\/span><\/p>\n

The chords which the keyboard instrument performs are determined by a \u00a0figured bass \u00a0<\/strong>a\u00a0series of numbers and symbols written \u00a0beneath the bass line illustrating to the keyboard player \u00a0which \u00a0chords or harmonies are to be played.<\/p>\n

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Other keyboard instruments could also perform the figured bass or \u00a0chords such as the \u00a0organ, lute, \u00a0guitar, or harp. The instruments performing the bottom \u00a0continuo (bass) line could be bassoon or even double bass in addition to the cello.<\/p>\n

Summary: \u00a0the keyboard \u00a0player “realizes”\u00a0 \u00a0(improvises) a continuo part by playing bass continuo line plus \u00a0the upper notes to complete chords, either determined ahead of time or improvised in performance. The cello or other bass instrument \u00a0doubles the continuo line.\u00a0 The keyboard instrument\u00a0 gives added weight to the lowest part. Often the\u00a0 keyboard player fills in the middle parts (chords)\u00a0 using\u00a0 musical judgment \u00a0in improvising with\u00a0 the figured bass parts. Experienced players often incorporate motives found in the other instrumental parts.<\/em><\/p>\n

With the end of the Baroque period, the \u00a0basso continuo \u00a0fell out of fashion and was rarely heard in the music of the Classical era and beyond. The exception to this was in secco recitative in Classical opera, which continued\u00a0to make use of sparse, improvised harmony on the harpsichord, though not of the harpsichord-cello pairing of Baroque continuo.<\/p>\n

A \u00a0basso continuo line in a piece of music is a strong indication that the piece is from the Baroque period.<\/div>\n

<\/h3>\n

Evolution<\/b>\u00a0of Tonality:<\/strong> In the baroque, the use of harmony is directed towards tonality, rather than modality, marking the shift from the Renaissance into the Baroque period. Chords, rather than notes, could provide a sense of direction\u00a0 in harmony. The concept\u00a0 is known as tonality.<\/span><\/p>\n

Claudio Monteverdi furthered the transition from the Renaissance style of music to that of the Baroque period.<\/p>\n

He developed two individual styles of composition\u2014(prima pratica)<\/strong> the heritage of Renaissance polyphony and (seconda pratica)\u00a0\u00a0<\/strong>the new basso continuo technique of the Baroque.<\/strong>\u00a0 \u00a0 With his operas (L’Orfeo<\/i> and L’incoronazione di Poppea<\/i> among others),\u00a0 Monteverdi brought considerable attention to this new genre.<\/p>\n

II.\u00a0 Middle baroque music (1630\u20131680)\u00a0 – the centralized court and chamber music<\/span><\/h3>\n

The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France<\/strong>. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music.<\/span><\/p>\n

The middle Baroque period in Italy<\/strong> is defined by the emergence of the cantata, oratorio, and opera\u00a0during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words.\u00a0 These melodies were built from short\u00a0 \u00a0 melodic ideas often based on stylized dance patterns<\/span> drawn from the sarabande or the courante. The harmonies, too, might be simpler\u00a0than in the early Baroque monody, and the accompanying bass lines were more integrated with the melody in\u00a0anticipation of the aria.<\/span><\/p>\n

\"Figure<\/p>\n

Figure 2. Jean-Baptiste Lully<\/p>\n<\/div>\n

Integral components of cantatas, operas and oratorios were the\u00a0recitative and aria.<\/em>Th simplified melodies and harmonies (Previous paragraph)\u00a0 led to this.\u00a0\u00a0Early Roman\u00a0 composers of This\u00a0 style were\u00a0 Luigi Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively. Also included is the\u00a0 Venetian\u00a0 Francesco Cavalli\u00a0 principally an opera composer. Later important practitioners include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella.<\/strong><\/p>\n

Jean-Baptiste Lully:\u00a0\u00a0<\/strong>One pre-eminent example of a court style composer is Jean-Baptiste Lully.\u00a0 He completed 15 lyric tragedies.\u00a0Instrumental ensembles featured \u00a0the string-dominated \u00a0orchestras, a trait inherited from the Italian opera.\u00a0 He introduced\u00a0 these ensembles to the lyric theatre, Upper parts were\u00a0 often doubled by recorders, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes.<\/p>\n

\"Figure<\/p>\n

Figure 3. Arcangelo Corelli<\/p>\n<\/div>\n

Corelli and Lully:<\/strong>
\nArcangelo Corelli\u00a0 a violinist who organized violin technique.and pedagogy advocated particularly for the development of the\u00a0concerto grosso.\u00a0Whereas Lully was ensconced at court, Corelli publishd widely. His music was\u00a0 performed all over Europe. As with Lully’s stylization of the opera, the concerto grosso is built on strong contrasts\u2014sections alternate between those played by the full orchestra, and those played by a smaller group.<\/em> Dynamics were “terraced”, that is with a sharp transition from loud to soft and back again. Fast sections and slow sections were juxtaposed against each other. Among his students is Antonio Vivaldi, who later composed hundreds of works based on the principles in Corelli’s trio sonatas and concerti.<\/p>\n

III.\u00a0 Late baroque music (1680\u20131730)<\/span><\/strong><\/h3>\n

The \u00a0legacy of \u00a0the Late Baroque period is its enormous number of operas (such as Handel’s Serse<\/i>), \u00a0oratorios, (two of the greatest being the St. Matthew’s Passion<\/i> by J.S. Bach, \u00a0and Handel’s magnificent Messiah<\/i>). These two oratorios which typify the sense of opulence and splendor associated with this period. Other major musical contributions of the Late Baroque era were various dance forms, such as the minuet, gigue, courante, allemande, and sarabande. These dances reflected movements that were ornamental, \u00a0another key feature of this particular time in the history of music.\u00a0A wide range of instruments performed in the Late Baroque period\u00a0 Harmonic accompaniment was usually provided by a harpsichord.<\/p>\n

Concerto Grosso:\u00a0\u00a0<\/strong>The c<\/i>oncerto grosso developed by coreilli\u00a0was\u00a0 the key instrumental form of the Late Baroque period. It reflected the contrast between two groups of instruments: one\u00a0 – a small body of string soloists, known as concertino, concertato,<\/i> or concertante<\/i>; the other – known as the ripieno<\/i>, formed the larger string section. The two groups would either alternate with one another or, at times, play together. Some of the greatest concerti grossi<\/i> are those by Corelli, J.S. Bach, and Handel. It was from this early concerto form that the later Classical and Romantic concertos developed.” –In Classical Mood<\/i><\/p>\n

Domenico Scarlatti <\/i>(1685-1757)<\/strong> \u00a0Born in Naples \u00a0Domenico was brother to organist Pietro Filippo Scarlatti and son to the famous composer Alessandro Scarlatti. Domenico himself was a harpsichordist and composer. He was a pupil of his father and in 1701 was appointed organist and composer to the court at Naples.
\nHis works include oratorios, church music, cantatas, around 600 harpsichord pieces (sonatas).<\/p>\n

Johann Sebastian Bach <\/i>(1685-1750)<\/strong>
\nBorn in Eisenach on March 21, the most famous Bach of all was an organist and composer born into a German family of musicians that spanned two centuries. \u00a0Appointed violinist in the court orchestra of the Duke of Weimar in 1703, but \u00a0the same year became organist in Arnstadt. In 1705 he took leave to travel to L\u00c4beck, to hear Buxtehude an influencial artist in his life, play. IN 1708 he returned to Weimar as court organist, remaining there for nine years. In 1717, he was appointed Kapellmeister<\/i> to the court of Prince Leopold of Anhalt-C\u016bthen. \u00a0Bach had little opportunity for church music and there he wrote mainly instrumental works. In 1723 he returned to church work when he became\u00a0Cantor of St. Thomas’s in Leipzig, where he remained for the rest of his life. In 1747 he visited the court of Frederick the Great at Potsdam, where his second son, Carl Philipp Emanuel, was court harpsichordist. Two years later his eyesight failed; an operation in 1750 was unsuccessful, and he spent his last months totally blind until he died on the 28th of July in Leipzig.<\/p>\n

George Frideric Handel <\/i>(1685-1759)<\/strong>
\nBorn in Halle on the 23rd of February, this German-English composer was born to a barber-surgeon who initially opposed his son’s entrance into the musical profession. Handel studied with Zachow in Halle and in 1702 matriculated at the university there to read law, at the same time holding the probationary post of organist at the Domkirche. The next year he left for Hamburg, where he played violin, later harpsichord, at the opera under Keiser, and had the operas Almira<\/i> and Nero<\/i> produced in 1705. He also made a great reputation as a harpsichordist. \u00a0In 1710 he was appointed to succeed the latter as Kapellmeister<\/i> to the Elector of Hanover, but left almost immediately on leave of absence for London, where Rinaldo<\/i> was produced with great success the next year. Again in London on leave in 1712, he settled there, never returning to his post in Hanover. Between 1712 and 1715 he produced 4 operas, and in 1713 composed a Te Deum<\/i> and Jubilate<\/i> to celebrate the Peace of Utrecht, receiving a life pension from Queen Anne. On her death in 1714 the Elector of Hanover succeeded to the throne as George I, but apparently took a lenient view of his former Kapellmeister’s<\/i> truancy, for Handel’s pension was soon doubled. As music director to the Earl of Carnavon (later Duke of Chandos) 1717-20, he wrote the Chandos Anthems, Acis and Galatea<\/i> and the masque Haman and Mordecai<\/i>.<\/p>\n

1720 began Handel’s most prolific period as an opera composer, and over the next 20 years he wrote more than 30 works. Handle \u00a0increasingly turned to oratorio in the 1730s due to economic constraints of the times. \u00a0Esther<\/i> (a revision of the masque Haman and Mordecai<\/i>), 1732, was followed by Deborah<\/i>, Saul<\/i> and Israel in Egypt<\/i>. His last opera was produced in 1741, after which he devoted his time chiefly to oratorio. His most well know oratorio , Messiah<\/i>\u00a0was produced in Dublin in 1742, followed by 12 more. He continued to appear in public as a conductor and organist, playing concertos between the parts of his oratorios, but his health declined and he spent his last years, like Bach, in blindness.<\/p>\n

Dances (c.1745) <\/b>
\nTo see more information about the minuet, gigue and other dances of the time, go to: \u00a0http:\/\/mandry.net\/veryan\/georgian\/gmusic.html<\/span><\/p>\n

A continuous worker, Handel borrowed from others and often recycled his own material. He was also known for reworking pieces such as the famous Messiah<\/i>, which premiered in 1742, for available singers and musicians.<\/p>\n

The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi, Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced the Baroque era to its climax.\u00a0Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of composition for future musical eras. The composers of the late baroque had established their feats of composition long before the works of Johann Fux.<\/p>\n

A continuous worker, Handel borrowed from other composers and often “recycled” his own material. He was also known for reworking pieces such as the famous Messiah<\/i>, which premiered in 1742, for available singers and musicians.<\/p>\n

\u00a0\u00a0<\/span>\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=134&action=edit \u00a0 \u00a0 \u00a0(From Music 101 (Santa Ana)<\/span><\/strong><\/p>\n

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