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Three Fs of Baroque

The Baroque Era (1600-1750) introduced new musical forms such as opera, oratorio, and concerto, characterized by their unique structures and features. Prominent composers of the period included Bach, Vivaldi, and Handel, each contributing significantly to various genres and styles. The era was marked by advancements in performance mediums, rhythmic complexity, and harmonic development, leading to a rich and diverse musical landscape.

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7 views6 pages

Three Fs of Baroque

The Baroque Era (1600-1750) introduced new musical forms such as opera, oratorio, and concerto, characterized by their unique structures and features. Prominent composers of the period included Bach, Vivaldi, and Handel, each contributing significantly to various genres and styles. The era was marked by advancements in performance mediums, rhythmic complexity, and harmonic development, leading to a rich and diverse musical landscape.

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Form, Folks, and Features: The Baroque Era

(1600-1750)
Forms
The Baroque period was host to many new forms of music, per evolutions of instrumental, vocal,
and keyboard music. The following are new or updated forms in Baroque music and their
individual characteristics, if provided.

1. Opera
a. Secular
b. Story based
c. Feature Arias and Recitatives
d. Extremely popular among general populous
2. Oratorio
a. Sacred
b. Story based, though not acted.
i. There were characters with costumes, though there was no acting.
3. Madrigals
a. Madrigals now have a basso-continuo line
b. Now inherently chordal
c. Sung in 4 parts
d. Story based
4. Concerto
a. Concertos have 3 parts
i. Contrasting Tonal Bodies
ii. A solo/tutti (group) relationship
iii. Element of virtuosity
b. Concertos can feature a soloist or a solo group of vocalists or instrumentalists
5. Pastural Plays
a. Spoken poem w/ music
b. Related mostly to nature
c. Eventually evolves into the suite
6. Ballet du Cour
a. 4 movements
b. Starts with a recitative
c. A form for the court in France
d. Meant to show off the king
7. French Overture
a. One slower movement (dotted quarter + eighth rhythms), one lively movement
b. A good example is Handel’s Messiah
8. Masquerade
a. Operatic in nature
b. Dance-heavy
c. Typically include an aria or recitative
9. Ricecare
a. 2 kinds of non-imitating forms
i. Fantasy
ii. Fantasia
10. Camzona
a. Had “different parts”
b. Develops into the sonata
11. Themes and Variations
12. Suites
a. Collection of Movements titled after their tempi, i.e., “Moderato,” “Andante.”
b. Dance suites are titled after common forms of dance at the time.
i. Allemande
ii. Courante
iii. Sarabande
iv. Gigue
13. Organ Forms
a. Toccatas
i. “Touch Piece”
ii. Quick and technically challenging
b. Fugues
i. Contrapuntal compositions
ii. Two melodies at once
iii. Stretto
c. Chorales
i. 4-part homophonic style
ii. Based on hymns and psalms
14. Cantatas
a. Usually sacred
i. Bach was an exception, i.e., “Coffee Cantata.”
b. Cantatas contain roughly 6 movements, containing the following
i. Choruses
ii. Solos
iii. Duets
iv. Small ensembles
15. Passions
a. Passions were long and complex pieces telling the story of Christ
b. They contain
i. Choruses
ii. Hymns
iii. Solos
iv. Duets
v. Ensembles

Folks

The Baroque period is host to many names and composers. The ones we mentioned are listed
here with their dates and their notable features in the order of our notes.

1. Giovanni Gabrielli (1567-1612)


a. Maestra di Capella of the San Marco church in Venice
b. Wrote mostly church music
c. Wrote some of the first concertos
2. Claudio Monteverdi (1567-1643)
a. Main composer of the early Baroque period
b. Wrote many genres including church music, organ, and madrigals
c. Wrote 12 Books of Madrigals
d. Shifted paradigm from 5 voice madrigals to 4 voices with basso continuo
i. 5 through 12 saw the usage of basso continuo
3. Girolamo Frescobaldi (1583-1643)
a. Master organist
b. Wrote keyboard music
4. Orlandus Lassus (1530-1594)
a. Known as an international composer
i. Two names in Germany and Italy
b. Late Renaissance Composer
c. Wrote Carmina Chromatico
5. Carlo Gesualdo (1560-1613)
a. Wrote Moro, Lasso
i. Madrigal with imitation and chromaticism
1. Chromaticism meant to exemplify words
b. Late Renaissance Composer
6. Heinrich Schutz (1585-1672)
a. Worked with Gabrielli and Monteverdi
b. Wrote sacred concerto style pieces for voices
c. Composed “Saul, Saul was verfolgst du mich?” Which was a scared symphony
7. Jean Baptiste Lully (1632-1687)
a. “Musical Dictator” of France under Louis XIV
b. Wrote operas in French
c. First composer of the French Overture
d. Stabbed his foot with his conductor’s staff and died like a idiot because he didn’t
get medical treatment
8. Jean Phillipe Rameau (1683-1764)
a. Klavier composer
b. Discovered inversions
9. Henry Purcell (1659-1695)
a. One of the only early English Baroque composers
b. Known for writing masquerades
c. Dido and Aeneas
10. Antonio Vivaldi (1678-1741)
a. Venetian priest and composer
b. Worked at the Conservatory of Pieta
c. He wrote
i. 48 operas
ii. 59 cantatas
iii. 450 concertos
iv. <100 chamber works
d. Concertos typically slow-fast-slow
e. The Four Seasons
11. Arcangelo Corelli (1653-1713)
a. Baroque instrumental composer
b. Corelli Clash
c. Pieces feature suspensions
12. G. F. Handel (1685-1759)
a. International composer, adapted styles of Italy, France, and Germany
b. Composed in England
c. First musician in his family
d. Popularized through opera and oratorio
13. Johann Sebastian Bach (1685-1750)
a. Led a provincial life, never really leaving Germany
b. Employment History
i. Arnstadt, 1703-1707
ii. Mulhausen, 1707-1708
iii. Weimar, 1708-1717
1. Keyboard and organ compositions were made here, i.e., Little
Fugue Book
iv. Cothen, 1717-1723
1. This was the location where he primarily made instrumental based
music, i.e., Brandenburg Concertos, Cello Suites and Violin
Sonatas & Partitas
v. Liepzig, 1723-1750
1. Here he made a majority of his religious works, including his
passions and chorales
c. He was a master craftsman and composer who utilized all the possible musical
advancements of the time and summed them up in his works. He also knew the
ins and outs of many instruments, and was able to manipulate them for desired
sounds and effects.
d. Bach had 5 main musical development characteristics:
i. His family
ii. Score copying
iii. 18th century patronage
iv. Religious conceptions of art and the duty of artists
v. Personal genius

Features
The baroque period is host to many changes in musical composition and performance. They are
listed below.

1. Performing Mediums
a. Chamber orchestra groups become prevalent
b. Excellent string makers provide the opportunity for string instruments to become
the main instrument section
c. Cantatas, concerto grossi (group concertos), passions, and other multi movement
works become popularized.
2. Rhythms
a. Energetic and driving. More notes, faster, with evident sequences.
i. Common meters include 2, 3, 4, and compound meters.
ii. Tempi were faster and slower than previous, this referring to the extremes.
3. Melody
a. Major and Minor tonality beings to rise
b. Emotion in dissonance
c. Melodic range of performers increased
d. Ornamentation
i. Dynamics were consistent, see Doctrine of Affections
4. Harmony
a. Basis for tonal centers
b. Strong, obvious cadences
c. Harmonic movement (T -> SD -> D -> T)
i. Modulations
ii. Harmonic sequences, repetition of a series of chords at higher or lower
pitches
5. Texture
a. Both polyphonic and homophonic
b. Bass line held works together
i. See Basso Continuo
6. Forms
a. See above.

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