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The Baroque Era: Ch 3, 10

The Baroque Era: Ch 3, 10. Concerto Ritornello Form Bach Brandenburg Concerto No. 5 Vivaldi, Concerto for Violin and Orchestra (“Spring”) SELF-GUIDED STUDY. vs. Orchestra (aka tutti) 15-25 strings + harpsichord louder dynamics simpler music. Soloist(s) 1 to 5 players

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The Baroque Era: Ch 3, 10

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  1. The Baroque Era: Ch 3, 10 Concerto Ritornello Form Bach Brandenburg Concerto No. 5 Vivaldi, Concerto for Violin and Orchestra (“Spring”) SELF-GUIDED STUDY

  2. vs • Orchestra (aka tutti) • 15-25 strings + harpsichord • louder dynamics • simpler music • Soloist(s) • 1 to 5 players • may feature woodwinds, brass • softer dynamics • technical, virtuosic Concerto • Concerto combines 2 highly contrasting groups: • Most concertos have 3 or 4 movements.

  3. Movement 1fast, energetic Ritornello form (always)

  4. Ritornello Form Ritornello sections played by tutti recurring theme or part of it Unity Solo sections played by soloist(s) New melody (ies) in each Solo section Contrast Contrast Time?:?? Time0:00 U U U U R1S1R2S2R3S3R4S4 etc RX C C C C C C C C C C

  5. Listening Preparation for our piece in ritornello form • 1. This piece’s ritornello theme (R) has two identification components: • melodic contour • double tone motive • Some R sections use both themelodic contour and motive;others employ only the motive. • Listen to each R section using Connect Kamien and indicate on the lines below what identifies it. NOTE: Kamienuses “Tutti” to refer to “Ritornello”. R1 R2 R3 R4 R5 R6 R7 R8R9 _____ _____ _____ _____ _____ _____ _____ _____ _____ Connect Kamien

  6. Listening Preparation Some Solo sections include bits of the Ritornello theme in the background or as a brief part of the solo melody. Which of these excerpts do this? When you have mastered this and the previous slide, you are ready to listen to the entire movement. 1 2 3 4 5 6

  7. Log • Bach • Brandenburg Concerto No. 5 in D Maj, Mvt. 1 • Concerto Grosso • I= • ritornello form • soloists=flute, violin, harpsichord • long harpsichord cadenza • a technical “tour de force” • much drive toward final ritornello Excellent performanceusing historic instruments Connect Kamien

  8. Ritornello Review R1 R2 R3 = Unity RSR = Contrast S1S2S3 = Contrast

  9. Log • Vivaldi • Concerto for Violin & Orchestra, Op. 8, No. 1, (Spring from the Four Seasons ), Mvt. 1 • Concerto • I= • Ritornello form • Program music Connect Kamien

  10. Self-Guided Listening Listen to movement 1 of Vivaldi’s Violin Concerto. using Connect Kamien and my formal analysis (next slide). 1. Can you identify each recurrence of R? 2. Who is supposed to play in a ritornello form’s S sections? (tutti or solo?) 3. Who plays in Vivaldi’s S1 S2 S4 sections? (Check Connect!!) 4. Do you agree that Vivaldi is “breaking” ritornello formal rules? 5. Explain how S1 and S4 can produce both contrast and unity. 6. Compare and contrast the Vivaldi and Bach movements: How many formal sections does each have? Which movement’s structure is more consistent with ritornello form? Which is longer? Which has the greater energy? (This is somewhat subjective.) 7. What is “program music”? Use Kamien or VA Tech Music Dictionary 8. Why is the “Spring” Concerto said to be programmatic?

  11. Ritornello form Vivaldi’s Concerto, Mvt 1 R1S1R2S2R3S3R4S4R5S5R6 Song birds Murmuring streams Song birds Thunder,lightning Connect Kamien

  12. Self-Guided Listening: Use Baroque era overview notes, Kamien, the internet, and Connect Kamien to make observations about Vivaldi and his Violin Concerto. • Vivaldi wrote >450 concertos for strings, woodwinds, and brasses. Why did he and his contemporaries write so much music? • Google “Stradivari” and/or “Stradivari violin” and scan several items to get an idea of Stradivari’s life span, work, and place in the history of violin making. Describe the quality of string instruments made in Italy during Vivaldi’s life. • Vivaldi wrote more than 300 concertos for strings (>230 for violin). Vivaldi and the string instrument makers, Stradivari, Amati, Guarnerius were nearly contemporaries. See a connection? • Remember program music? • In what musical era or century is program music particularly popular? • Can you cite elements of Vivaldi’s Violin Concerto that make it programmatic? • Does Vivaldi compose at the beginning, middle, or end of the Baroque era? When did Vivaldi compose his “Spring” concerto? • As musical eras draw to a close it is common for composers to experiment and innovate. Might this phenomenon have influenced Vivaldi? • What, then, is Vivaldi’s role in the development of music?

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