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Chapter 8 Prelude : The Late Baroque Period. Musical Life in the Early Eighteenth Century. Church Court Opera house. Key Terms. Musical Life in the Early Eighteenth Century. Importance of crafts in Baroque era Chippendale furniture, Paul Revere silver, Stradivarius violins
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Chapter 8Prelude: The Late Baroque Period Musical Life in the Early Eighteenth Century
Church Court Opera house Key Terms
Musical Life in the Early Eighteenth Century • Importance of crafts in Baroque era • Chippendale furniture, Paul Revere silver, Stradivarius violins • Music also regarded as a craft • Composers not unique artists, but artisans who produced music to order for their patrons • Thus, music often anonymous in character • Three main institutions supported music • The church • The court • The opera house
The Church • Expectations of church composers— • Compose or improvise new music for worship • Play or lead performances of their music • For special occasions, provide elaborate music for chorus, soloists, & instruments • Train boys who sang in choirs • Organists play preludes, accompaniments to solemn moments, & postludes • Increasing desire for keyboard, chamber, and even orchestral works
The Court • Status equivalent to court painter or chef • Composers worked at whim of masters, but enjoyed secure existence & pension • Composers had to be prolific • Musicians’ prestige & working conditions varied from court to court • More opportunities for travel • Easier to keep up with trends, new developments in music
The Opera House • Originally attached to courts • Starting in 1637, public opera houses were the first musical institution supported by paid admission • Solo singers were the stars • Composers wrote (and often rewrote) music to show off solo singers’ talents • Composers often conducted their operas from the harpsichord