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Music Appreciation Class #2

Music Appreciation Class #2. The Baroque, part 1 CD #1, tracks 5-8. Definition. 1600-1750 Extravagant, complex, or bizarre, especially in ornamentation. Definition, continued. “Spacious, dynamic, brilliant, colorful, theatrical, passionate, sensual, ecstatic, opulent, extravagant,

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Music Appreciation Class #2

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  1. Music AppreciationClass #2 The Baroque, part 1 CD #1, tracks 5-8

  2. Definition • 1600-1750 • Extravagant, complex, or bizarre, especially in ornamentation

  3. Definition, continued “Spacious, dynamic, brilliant, colorful, theatrical, passionate, sensual, ecstatic, opulent, extravagant, versatile and virtuoso.”

  4. 400 500 600 700 800 900 1000 1100 1200 1300 1400 1500 1600 1700 1800 1900 Culture • Turbulent change in politics, science, arts • Religious wars • Exploration of the New World • Rise of middle-class culture • Music making centered in the home, church, and universities • Collegium musicum

  5. What is the “Baroque*” aesthetic? • Intense; • Complex; • Dense; • Opulent; • Extravagant.

  6. The Sistine Chapel (Michelangelo)

  7. St. Peter’s

  8. Adoration by Sir Peter Paul Ruben

  9. Main musical ideas from Baroque: • Contrapuntal* • Grandeur • Complexity • Virtuosity*

  10. Improvisation* • Improvisation* • First musical “stars” • Intense competition. • William Goldstein master class

  11. Baroque Musical Rhythm • Baroque rhythm* • Specific • Unrelenting • Dance • Formal Royal Court occasions

  12. The Rise of the Virtuoso* Musician • Technical improvements in instrument making • Composers challenging the performers

  13. The Doctrine of the Affections* • One mood, or affection, per movement or piece

  14. Women in Baroque Music More professional women were singers & instrumentalists • Francesca Caccini • Barbara Strozzi • Faustina Bordoni • Francesca Cuzzoni • Elisabeth-Claude Jacquet de la Guerre

  15. Concerto* & Ritornello* • Definition • Concerto*: to fight, to argue; a contest • Ritornello*: to return over and again

  16. The Baroque Dance Suite* Suite: each movement is A-A-B-B • Allemande • Courante • Sarabande • Gigue (jig)

  17. Other optional dances • Minuet • Gavotte • Bourrée • Passepied

  18. Contrapuntal devices • Augmentation: longer time values • Diminution: shorter time values • Retrograde: backwards (starting from the last and going to the first) • Inversion: turning the melodic intervals upside down • Retrograde inversion: original melody is played upside down and backwards

  19. CD #1, track 5 Johann Pachelbel: “Canon & Gigue”

  20. Johann Pachelbel* • 1653-1706 • Composer • Teacher • Organist

  21. Definitions • Canon* • Contrapuntal* • “Leader” melody* • “Follower” imitation* • Gigue* • Movement of a dance suite*

  22. Bass line (28 repeats!)

  23. “Voices”

  24. Listen for… • Repeating bass line* • “Leader” voice* • “Follower” voice* • Entrances of new voices • Harpsichord* accompaniment

  25. CD #1, track 6 Arcangelo Corelli: “Christmas Concerto” Vivace -- Grave

  26. Arcangelo Corelli • 1653-1713 • Crucial influence on violin music & technique • Accepted in aristocratic society • Extreme wealth

  27. Definitions • Vivace* • Lively, energetic • Grave* • Slow, mournful • Concerto da chiesa* • 3-part composition for the church

  28. Listen for… • Significant tempo* changes • Dynamic* changes • Crescendo* • Decrescendo* • Contrapuntal* writing • Harpsichord* accompaniment

  29. CD #1, Track 7 François Couperin: Premier Concert, “Prélude”

  30. François Couperin • 1668-1733 • Couperin le Grand • Famous musical family • Organiste du Roi • Ordinaire de la musique de la chambre du Roi

  31. Definitions • Prélude* • An introductory piece, able to be performed out of context. • French Baroque* • Identified by unusually specific rhythm* and a decorated melodic line.

  32. Listen for… • Trill* • Mordent* • Contrapuntal* and melodic writing • Consistent rhythm*

  33. CD #1, Track 8 Antonio Vivaldi: “The Four Seasons” Spring Allegro

  34. Antonio Vivaldi* • 1678 (Venice) – 1741 (Vienna) • Father/Son violinists • Innovative composer • Form (Sonata* or “Sonata Allegro”*) • Woodwind* • Virtuoso* violin technique

  35. Virtuoso!* "Vivaldi played a solo – so splendid! -- to which he appended a cadenza* which really frightened me, for such playing has never been nor can be: he brought his fingers up to only a straw's distance from the bridge, leaving no room for the bow-- and that on all four strings with imitations and incredible speed."

  36. Venice • City/state • Social and cultural capital of Italy • Tourism • Festivals required music • Christmas • Carnival

  37. Vivaldi the traveler... • Work as performer • Amassed great wealth • poorly invested • International success • Paris, Amsterdam^, Vienna, Rome and Dresden

  38. 1st Professional* musician • Appointment (Patronage*) • Church and/or state • Music Publishing • Dedications*

  39. Vivaldi the priest... • “The Red Priest” • Asthma? • Weekly musical opportunities

  40. The Ospedeledella Pieta* • “Hospital of Pity (Compassion)” ...as it looked then...

  41. And today...

  42. Theater....

  43. Job duties • Teacher • Violin, viola, flute, oboe, harpsichord and voice • Composer • Two concerti* every month for public performances

  44. Performances • Most famous & admired orchestra in all of Venice! • Highly competitive market • Popularity, fame and fortune • Large, heavy curtains. • Why?

  45. Who are the girls? • Orphans? • Illegitimate? • Physically challenged?

  46. Departure... • Why? • Popularity • Travel • Duties included Mass • Love?

  47. Vivaldi the lover... • Anna Giro • 30+ years difference • Accomplished singer • Scandal!

  48. Vivaldi’s music • Prolific • 500 concerti*, 40 cantatas*, 52+ operas*, 60+ sacred works • Where is all the rest? • Who claims ownership?

  49. Vivaldi and opera* • Six opera houses in Venice • Intense competition • Diversion from sacred* music • Profit • Ownership • Fame • Social aspect

  50. Instrumental Music • Attention to individual, unique timbre* of each instrument • Unusual and new instruments

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