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Baroque Choral Music 1600-1750 (General (Developments (New genres (Common…
Baroque Choral Music
1600-1750
General
Context
Religion
Lutheranism
Started in Germany by Martin Luther
Earliest example of Protestantism
Congregation involvement
Use of vernacular language
Chorales
Catholicism
Powerful
Counter-reformation
Response to Lutheranism
More accessible
Understanding emotions though music
Developments
Frequent use of Basso Continuo
Played by Harpsichord, Cello, Organ, Bassoon
Emphasis on harmony rather than melody
Prima Prattica -> Seconda Prattica
Standardised orchestra
Strings, harpsichord, organ
Natural trumpets+horns
Oboes, bassoons, flutes
Timpani, No conductor
Music became more dramatic
Composers try to create "affects"
Shift from modes to maor+minor scales
New genres
Passions
Based on crucifixion
Cantata
#
Associated with German composers
Can be smaller than an oratorio
Common features
Combine instruments + voices
Aria
Solo song
Used to develop character/dwell on feelings/emotions
Often Da Capo
Eg. He Was Despised
Chorus
Represents the people
Recitative
Secco or Accompagnato
Quick moving harmony
Syllabic, Rubato
Convey lots of information
Opera
#
Eg. Orfeo by Monteverdi 1607
Closely linked to development of Seconda Prattica
Introduced new forms
Influenced religious must with new ideas+concepts
(Dramatic delivery of text/story rather than portraying moods)
Oratorio
#
Stand alone piece of music not designed for a service but uses religious text
Early Baroque Eg. Jephite by Carissimi
Late Baroque Eg. Messiah/Israel+Egypt by Handel
Definitons
'Stile Concerato' = Uses voices + instruments together
'Monody' = Solo voice with continuo
'Figured Bass' = Numbers written above a baseline which are interpreted by a player
'Cori Spezzati' = 2 or more choirs physical separated
Monteverdi
Vespers
'Quia fecit'
Texture
Antiphonal-As a dialogue between upper + lower voices
Polyphonic/Overlapping entries
Free imitation-Element of first entry repeated but not whole entry
Florid counterpoint b10+20
Suspensions (Controlled dissonance) b12
Accompaniment
Organ
Mostly doubling vocal parts
Not independent/idiomatic/virtuosic
Tierce de Picardie at end
G minor -> G major
Evening prayer service
Gabrieli
About
Employed by St Marc's Basilica
In Venice, North Italy, which was less strongly Catholic
2 balconies inspired Polychoral style
'Cori Spezzati' =2 or more choirs physically separated
'In ecclesiis' 1608
Ritornello form
Contrast between soloist + chorus
Cadencing on different degrees of the scale
-Typical of modal writing
Modal: asked around Aeolian mode
Idiomatic instrumental writing
Highly developed understanding
Becomes more important
Texture
Begins with monody
Imitation b16
Moves around soloists
Sinfonia = sounding together b52
Duet b68
Strict canonic imitation b92
Harmony
Use of picardy 3rd (major in a minor key)
False relation b58
Binding note links 2 seemingly unrelated chords b189
Bold harmony
Moves to triple time b11
Associated with Holy Trinity
Sequence b21+26
Rhythm
Syncopation b30
Creates a feeling of joy
Dotted rhythm in instrumental b55
characteristic of instrumental writing
All instruments + voices together for first time in Ritornello b113
Anthems
General
Shorter pieces for choir
Sacred text, often a psalm
Either accompanied or unaccompanied
Either uses Latin or Vernacular
Purcell
'Oh Sing Unto The Lord' 1688
Big English Anthem
Verse Anthem
Alternates between solo Bass + full choir
Strings + Organ accompaniment
Reflects the meaning of the text
Creating contrast through use of tempo, texture, duple->triple time + different keys
'Hear My Prayer' 1682
Small English Anthem
Full Anthem
Uses whole choir all way through
Acappella for 8 parts
Features
Word painting
Crying=Melismatic+Chromatic
Use of full texture to create dramatic point
Voices coming together on same word
Highest note in the piece
Wide tesatura (range)
Motets
General
Shorter pieces for choir
Sacred text, often a psalm
Either accompanied or unaccompanied
Uses either Latin or Vernacular
France remained predominantly Catholic -Often Latin
Petite
Acappella or Continuo accompaniment
Eg. Lully - 'Domine salvum fac regem'
1650-1687
3 soloists (high voices) + organ Continuo accompaniment
Only 1 movement
Sung at every mass where the King was present
Syllabic + melodic
Grande
Orchestral accompaniment
Eg. Rameau - 'Quam delectable tabanacula'
1713 Royal Chapel, Versailles
Soloist + Chorus + Orchestra
Multi-section work
Highly emotional/dramatic/lyrical
(Composer of opera)
Vivaldi
Italian Catholic
Writing for orphanage of clergy girls
'Gloria'
2 movements - 30 minutes
D major
Celebratory + Glorifying God
Allowed for use of trumpets + timpani
Opening
Establish tonic key with same chord for 8 bars
Alternating texture
String + wind octave texture
Interspersed with short violin motif in parallel 3rds
Followed by diatonic circle of 5ths progression
Dramatic rest + preverecated cadence = build up
Cadential 64 into choral entry
Choral entry
"Gloria"
Accompanied by octave quavers
Interspersed with semiquaver motif - like dialogue
Block contrast + drama
Syllabic + Homophonic
"In excelsis"
Minims
Bar 23 suspension 4-3
Dynamic contrast - Echo
Typically Baroque
"Gloria in excelsis"
Modulating using secondary dominants
Longer note values
"Gloria in excelsis deo"
Modulated to B minor (relative minor)
Continues to move through secondary dominants
Sustained harmonic writing
Harmonic tendon created by suspensions + dissonances
"Deo" = perfect cadence onto C# minor
Handel
Born in Germany
Comes to England to work for the king
'Messiah' 1741
Originally performed in theatres as a concert piece
3 parts: Birth, Crucifixion, Resurrection
Chorus: 'For unto us a child is born'
G major
Calm + Satisfied
Fugal texture
Uneven entry
"For unto us"
Syllabic subject in tonic sung by sopranos then tenors
Melismatic counter subject sung by sopranos then basses
Answer in dominant key sung by altos
"Wonderful counsellor"
Homophonic + Syllabic + Natural pitch falls
Rests between words
Contrast to fugal = emphasis
Accompanied by violin semiquavers in parallel 3rds
Alternates textures for interest + emphasis
Recitative secco: 'There were shepherds'
Basso continuo figured bass accompaniment
Starts on offbeat
Natural pitch shape + rhythm
C major
Dominant preparation for F major
Sustained C pedal (unusual)
Root position C chord ->
Diminished chord viib (dissonant) ->
Root position C chord
Acts like a cadence
Recitative accompagnato: 'And lo! '
F major
Pastoral key
Shepherds reassured by angels
Only uses major triads
Use of inversions to create a conjunct bassline
Violin arpeggios imagery for fluttering wings
Ends with perfect cadence (IV-V-I)
De Capo Aria: 'He Was Despised'
A section
Eb major
Intimate conversation with God
Opening instrumental introduces voice themes
Foreshadowing/emphasis on text
Vocal entry
Proceeded by rest to draw in audience
Enters unaccompanied
Short, mostly syllabic, motif
Followed by sighing motif played by 2 violins in 3rds
"Sorrow"
Melismatic (contrast)
Echoed by violin
"Grief"
Word painting
Dissonant chord: F against Gb major
Followed by string of suspensions resolving to Bb major
Emphasise tension + pain
B section
C minor (relative)
Spikey character
Dotted rhythms
Syllabic
Emphasis on main beats
Quick harmonic movement
"That plucked off the hair"
Descending melodic sequence
"From shame"
Sighing motif
"From shame an spitting"
Unaccompanied (cadenza)
Then returns to beginning
Anthem: 'Zadok the Priest' 1727
Anthem
A choral setting of a religious or moral text in English, generally designed for liturgical performance
Text is usually linked to collect of the day
Stand alone piece of music
Usually relatively short
Context
Commissioned for coronation of George II at Westminster Abbey
Performed at every coronation since
Text comes from the first book of Kings in the Old Testament
Instrumentation
More fully scored to reflect occasion + venue
3 trumpets, 2 oboes, 2 bassoons
3 violin sections, violas, cellos + double basses
Organ, timpani
Double choir except tenors
Introduction
22 bars of instrumental
D major
Celebratory + Glorifying God
Allows for use of trumpets + timpani
Associated with power + nobility (Eg. Fanfares)
Subtle, quiet, low impact introduction
No melody
Harmonic progression not modulating
Chord changes each bar
Violins play ascending triadic semiquavers in four note patterns
Woodwind + lower strings play repeated quaver chords
Chromatic harmony
Uses sharpened IV to imply modulation
Modulates to dominate (A)
Repeats same sequence up a 5th
Vocal entry
Cadence onto vocal entry
Homophonic + Syllabic + Ceremonial rhythms
Elongated rhythms clearer to hear text in venue acoustic
Trumpets + Timpani enter
Trumpets doubling vocal parts
"Solomon" uses speech-like dotted rhythm
Easier to understand less familiar word
Ends section with complete rest to clear air before new section
Bach