1 / 11

Chapter Ten

Chapter Ten. Instrumental Music, 1600-1750. Instrumental Genres (Baroque). Sonata – “da sonare” – to be sounded - instrumental technique (no vocal models) - wide ranging numbers (1-2 up to ?) - “chamber music”

rmcneeley
Download Presentation

Chapter Ten

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Chapter Ten Instrumental Music,1600-1750

  2. Instrumental Genres (Baroque) • Sonata – “da sonare” – to be sounded- instrumental technique (no vocal models)- wide ranging numbers (1-2 up to ?)- “chamber music” • Concerto – “to work together”- larger groups (multiple players on parts)- based in contrasts (small/solo vs. whole) • Suite – collections of dance pieces- keyboards- ensembles

  3. Sonatas • Developed from the canzona tradition- pieces “to be sounded”- Biagio Marini, Sonata per il violino con due corde • Preference to two upper parts over b.c- Trio Sonata (3 parts, but maybe more players)- Maurizio Cazzati, Sonata “La Strozza” • Anth I/89 – violin & b.c. = “solo sonata”- Isabella Leonarda, Sonata duodecima (1693) • Separate Movements – self-contained units- Giovanni Legrenzi, Sonata Op.2 No.1 La Cornara

  4. Sonatas (2) • Classed by usage • Sonata da camera (chamber) = dance suite- Corelli, Op. 2, No. 10 • Sonata da chiesa (church)- Corelli, Op. 1, No. 5- slow, fast, slow, fast • Solo Sonata (violin & b.c.)- ornamentation in slow mvts (see textbook, p. 265) Archangelo Corelli (1653-1713)

  5. Concerto • (eventually) a work for orchestra- contrast between solo/small group & whole • Concerto grosso- concertino vs. ripieno (tutti)- Corelli, Op. 6, No. 2 (Anth I/90) [HIP video] • Solo Concerto [Anth I/91]- one (or two) player(s) vs. entire orchestra- Antonio Vivaldi, Concerto in A min, Op. 3, no. 8- Ritornello structure

  6. “Ospedele della Pietà” (Venice, 1782?)by Gabriele Bella (1730-1799)

  7. Antonio Vivaldi (1678-1741) • b. 1678, Venice • Violin teacher (Ospedele) • “the Red Priest” • Music director- Mantua (1718)- Vienna (1727) • Concertos (over 400!) • 46 Operas (forgotten) • Gloria (chorus), etc.

  8. Suite • Groups of Dances(from Renaissance) • Numbers vary per set • Keyboard or Ensemble • Called….- partita (Germany)- ordre (France)- lesson (England)- etc. … [textbook, 273] • Binary forms (mostly) • Unity by- key- tune (Variation suite) • Variety by dance types(textbook, p. 273) • Anth I/92 - F. Couperin, Bk I, 2d ordre (excerpts)(starts 37:17) • Ornamentation • Style brisé,Style luthé

  9. Toccata • “free genre” = no rules • toccare = “to touch” • Explores the full range & possibilities of instrument • Short sections of diverse styles, textures, techniques • Frescobaldi on playing (textbook, 277) • ANTH I/94: Toccata IX, Il secondo Libro di Toccate &(alternate version on organ) • “ Non senza fatiga si giunge al fine ” [at end of piece] Girolamo Frescobaldi (1583-1643)

  10. Praeludium • “free,” but predictable • Multi-sectional • Improvisatory opening • Imitative (fugal) sections • Full range of organ • Buxtehude (Danish) – organist • ANTH I/95: BuxWV 149Praeludium in G minor • Alternate performances- Ton Koopman- Maciej Lamm Dietrich Buxtehude (1637-1707)

  11. Fugue • Imitative work • “free” but… follows strict procedures • Exposition (all voices)- Subject (I)- Answer (V)- Countersubject • Episodes (no subject) • Stretto (overlap) • Inversion • Retrograde (backwards) • J.S. Bach,Well Tempered Clavier • 2 books of 24 = 48 • All major & minor keys • Prelude and Fugue • ANTH I/96a- BWV 846 (C major) (fugue – 2:10) • ANTH I/96b- BWV 849 (C# minor) (fugue – 3:12)

More Related