Chapter 7 The Early Baroque Period

1. Chapter 7The Early Baroque Period From Renaissance to Baroque

2. Baroque Extravagance Control Venice Motet Key Terms

3. Early Baroque Timeline

4. Early Baroque Timeline

5. Early Baroque Timeline

6. From Renaissance to Baroque • Early Baroque a period of rapid change • A radical new style emerges • Influenced by ideas of Florence Camerata • Focus on expression of strong emotion, not mere text painting • New emphasis on solo singing • With the development of recitative, a theatrical style emerges • Instrumental music & dance music become increasingly important

7. Instruments inferior to human voice Vocal ensembles A cappella ideal, no accompaniment Natural, simple musical ideas Instrumental music equally important Solo voice preferred Voice accompanied by instruments Artifice and virtuosity Renaissance vs. Baroque (1)

8. Irregular, floating rhythms Modal harmony Music for church and chamber Text declamation and word painting Clear, dance-influenced rhythms Functional harmony Music for theater, church, & chamber Expression of emotions most important Renaissance vs. Baroque (2)

9. Music in Venice • Major economic/cultural center, enriched by international trade • A republic! Cooperative approach to government & the arts • Flamboyant, colorful architecture • Venetian painters used warm, rich hues • The Bellinis, Titian, Tintoretto • Venetian music was equally flamboyant, warm, rich, and colorful

10. Saint Mark’s • Basilica was the center for Venetian music • Many beautiful Byzantine mosaics • Many balconies and two choir lofts positioned farther apart than usual • Long-standing practice of using two (or more) choirs in alternation • Early example of stereophonic sound! • Frequent mixing of voices & instruments • Magnificent, extravagant sounds

11. Extravagance and Control • New freedom of expression • This newly emotional, extravagant music was bursting out of traditional forms, styles, and genres • As composers took more freedoms, they became more rigorous and systematic • Careful control yielded music that was expressive yet clear, meaningful, and coherent

12. Giovanni Gabrieli(c. 1555-1612) • Organist and composer at St. Mark’s from 1584 until his death • Prolific— • Instrumental works for organ and for chamber ensembles • Works for two or more choirs of voices and/or instrumentalists • Music mixes delicate expressive passages and rich, brilliant echo effects

13. Gabrieli, “O magnum mysterium” (1) • Two choirs—seven vocal & instrumental parts in each—with organ accompaniment • Still some Renaissance procedures— • Uses vocal ensembles • New melody for each phrase of text • Careful declamation and text painting • Hushed awe of “O magnum mysterium”

14. Gabrieli, “O magnum mysterium” (2) • Careful declamation and text painting (cont.) • Intimate warmth of “et admirabile” • Mild dissonance of “iacentem in presepio” • Celebration of alleluias

15. Gabrieli, “O magnum mysterium” (3) • Many Baroque features as well— • Equal treatment of voices & instruments • Clear, often dancelike rhythms • Parallels between beginning & end (clarity) • Use of repetition & sequence (intensification)

16. Gabrieli, “O magnum mysterium” (4) • Grand, magnificent sound of large ensemble • Rich palette of colors—interplay between choirs of voices & instruments • Use of calculated, theatrical contrasts to build momentum

17. O magnum mysterium Et admirabile sacramentum Ut animalia viderunt Dominum natum Iacentem in presepio: Alleluia, alleluia. O great mystery And wonderful sacrament— That animals see the Lord new born Lying in the manger. Hallelujah, hallelujah. “O magnum mysterium”