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‘ Tis the Season(s):

‘ Tis the Season(s):. Instrumental Music of the Baroque and Stories without Words. Classical Music Concert. #1: Instrumental music secondary, peripheral until 17 th century. #2: Cutting music free of dependence on words has far-reaching implications. The Baroque Sonata. A . Sonata Defined.

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‘ Tis the Season(s):

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  1. ‘Tis the Season(s): Instrumental Music of the Baroque and Stories without Words

  2. Classical Music Concert

  3. #1: Instrumental music secondary, peripheral until 17th century #2: Cutting music free of dependence on words has far-reaching implications

  4. The Baroque Sonata A. Sonata Defined 1. Early Baroque (1600-1650) sonata or canzona=any instrumental composition Early sonata tied to vocal models 2. Mid- and Late Baroque (ca. 1650 - ) chamber music for 1-2 soloists + b.c. B. Types of Sonata Functions Sonata da camera (chamber sonata) Stylized dances: Allemande, Courante, Sarabande, Gigue usually in binary form: ||: a :||: b :|| Sonata da chiesa (church sonata) Non dance: often Slow/Fast/Slow/Fast Performing Forces Solo Sonata Trio Sonata

  5. The Baroque Sonata A. Sonata Defined 1. Early Baroque (1600-1650) sonata or canzona=any instrumental composition Early sonata tied to vocal models 2. Mid- and Late Baroque (ca. 1650 - ) chamber music for 1-2 soloists + b.c. B. Types of Sonata Functions Sonata da camera (chamber sonata) Stylized dances: Allemande, Courante, Sarabande, Gigue usually in binary form: ||: a :||: b :|| Sonata da chiesa (church sonata) Non dance: often Slow/Fast/Slow/Fast Performing Forces Solo Sonata Trio Sonata

  6. First Major Composer of Sonatas: Arcangelo Corelli 1. Use of modern functional harmony: 2. Extensive use of sequences:

  7. II. The Baroque Concerto A. Origins (mid-Baroque) concertato style: based on contrast of performing forces Concerto also based on: Contrast of Performing Forces vs. ripieno (or tutti) (soloist(s) = concertino Rip. Concertino Rip. Concertino Basso continuo

  8. II. The Baroque Concerto A. Origins concertato style based on contrasts btw. performing forces B. Performing Forces Concertino (solo) vs. ripieno (or tutti) C. Two Types of Baroque Concerto Solo Concerto Concerto grosso D. The Contrast Principle

  9. II. The Baroque Concerto A. Origins B. Performing Forces C. Two Types of Baroque Concerto D. The Contrast Principle E. Composers

  10. Antonio Vivaldi The Four Seasons, “Spring,” 1st Movement

  11. II. The Baroque Concerto A. Origins B. Performing Forces C. Two Types of Baroque Concerto D. The Contrast Principle E. Composers F. Form of the Baroque Concerto 1. Three Movements: Fast/Slow/Fast 2. Outer movements in Ritornello Form

  12. Ritornello Form: Ritornello= Main Theme Played by Ripieno (full ensemble) Ritornello returns at end Abbreviated Returns Of rit. Episodes (Solo Episodes)

  13. Ritornello Form: Ritornello= Main Theme Played by Ripieno (full ensemble) Ritornello returns at end Rip. Concertino Rip. Concertino

  14. Ritornello Form: Double Contrast 1. Contrast of Performing Forces (Ripieno vs. Concertino) 2. Contrast of Themes: Ritornello Theme vs. Solo Melodies

  15. III. Antonio Vivaldi’s Spring Concerto (1st Mvmt) Ritornello = AABB 3 1=2 4=3 inverted 3=1 reversed 4=5 6=4 fragmented

  16. III. Antonio Vivaldi’s Spring Concerto (1st Mvmt) Ritornello = AABB 3 The Logic of “Wordless” Instrumental Music: Delight in play with patterns, Abstract relationships Quasi-mathematical networks Music “talks” about itself

  17. The Logic of Words: Words refer to objects/ideas beyond themselves

  18. Vivaldi’s “Four Seasons: Weds Abstract, Musical logic to The Referential Logic of Words

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