Please enable JavaScript.
Coggle requires JavaScript to display documents.
Baroque Choral Italian Catholic (Gabrieli ('In ecclesiis' 1608…
Baroque Choral
Italian Catholic
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
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"
Syllabic + Homophonic
Accompanied by octave quavers
Interspersed with semiquaver motif - like dialogue
Block contrast + drama
"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
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
Carissimi
About
Early Baroque c.1605-1674
Early Oratorio conposer
'Jepthe' 1645
Oratorio Latino (Uses prose text)
Old Testament story from Book of Judges
Jepthe triumphs over Ammon armies + sacrifices his daughter in return for victory
Composed for:
Organ continuo
(Often performed with upper strings)
SSATB chorus
Represents the crowd
Soloists: Narration, Jepthe, Jepthe's daughter
About 30 minutes long
Examples
Opening
Solo
Alto = Narrator
Tenor = Jepthe
Quasi recitative style
Clear example of Monody
No. 8
SA chorus: "And the children of Ammon howled"
Chromatic harmony - Full descending chromatic scale
Suspensions/Double suspension creating dissonance
= tension/pain
No. 24
Chorus: "Weep you children of Israel"
Use of melisma
Antiphonal effect between SSA + TB