The Baroque Period

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The Baroque Period The sixteenth century Reformation, which began as a simple theological debate in Germany, had worldwide consequences both socially and politically. Many kings and princes saw it as an opportunity to gain independence from the Holy Roman Empire, and the resulting weakening of the Church’s political influence greatly increased the power of European monarchies and aristocrats. By the seventeenth century, the desire of these elites to outdo one another in pomp and circumstance at their royal courts was reflected in the deeply ornamented architecture of the time, and no less in the musical trends of what is called the Baroque Period. The trends of Baroque music began in Italy with the invention of opera, where a theatrical production is set entirely to music, pioneered by composers like Claudio Monteverdi. To tell the story, operas had three main types of music: recitative, where ordinary dialogue was sung instead of spoken; aria, where a single character would expound upon his or her thoughts in a more elaborate, structured musical form; and chorus, where a large group of actors would all sing together. This same structure was sometimes used with religious texts, in which case it is called an oratorio; probably the most famous of these is “The Messiah” by the German/English composer George Frederick Handel. Using instruments solely to back up a singer led to harmony being considered in a new way called homophony, where the melody is clearly distinct from the accompaniment (unlike polyphony, where every part is a melody on its own.) Improvements in the construction of instruments and aristocrats’ demands for constant music gave rise to the sonata, in which a solo instrument performs with keyboard accompaniment, and the concerto, in which a solo instrument performs with orchestral accompaniment. Italian composer Antonio Vivaldi wrote many of these to highlight the skills of virtuoso soloists. Johann Sebastian Bach is generally considered the greatest composer of the Baroque Period, which ended with his death in 1750. His musical output was massive and included every type of genre. He is particularly well known for his chorales (religious choral works), his concertos, and his organ fugues (complex polyphonic compositions based around a single theme.) The Baroque Period at a Glance New Genres New Techniques New Media Composers Opera Homophony, where a melody The orchestra begins to take Claudio Monteverdi, Oratorio is played over a clear shape in this time. More modern Antonio Vivaldi, Sonata accompaniment part. wind instruments (like the horn, George Frederick Concerto oboe, bassoon, and flute) begin to Handel, Johann Fugue appear. The harpsichord was very Sebastian Bach popular and the organ became prominent in church music. Important Terms Opera – a theatrical production set to music; consists of recitative (sung dialogue), aria (a more elaborate musical exposition of a single character’s thoughts), and chorus (where everyone sings together) Oratorio – like an opera, but with a religious text Sonata – a piece of music for a solo instrument with keyboard accompaniment Concerto – like a sonata, but with an orchestra in accompaniment instead of (or along with) keyboard Chorale – a religious choral work (sometimes called a hymn) Fugue – a polyphonic work based around alterations of a single theme .

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9. Vivaldi and Ritornello Form
The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op.
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Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
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2257-AV-Venice by Night Digi
VENICE BY NIGHT ALBINONI · LOTTI POLLAROLO · PORTA VERACINI · VIVALDI LA SERENISSIMA ADRIAN CHANDLER MHAIRI LAWSON SOPRANO SIMON MUNDAY TRUMPET PETER WHELAN BASSOON ALBINONI · LOTTI · POLLAROLO · PORTA · VERACINI · VIVALDI VENICE BY NIGHT Arriving by Gondola Antonio Vivaldi 1678–1741 Antonio Lotti c.1667–1740 Concerto for bassoon, Alma ride exulta mortalis * Anon. c.1730 strings & continuo in C RV477 Motet for soprano, strings & continuo 1 Si la gondola avere 3:40 8 I. Allegro 3:50 e I. Aria – Allegro: Alma ride for soprano, violin and theorbo 9 II. Largo 3:56 exulta mortalis 4:38 0 III. Allegro 3:34 r II. Recitativo: Annuntiemur igitur 0:50 A Private Concert 11:20 t III. Ritornello – Adagio 0:39 z IV. Aria – Adagio: Venite ad nos 4:29 Carlo Francesco Pollarolo c.1653–1723 Journey by Gondola u V. Alleluja 1:52 Sinfonia to La vendetta d’amore 12:28 for trumpet, strings & continuo in C * Anon. c.1730 2 I. Allegro assai 1:32 q Cara Nina el bon to sesto * 2:00 Serenata 3 II. Largo 0:31 for soprano & guitar 4 III. Spiritoso 1:07 Tomaso Albinoni 3:10 Sinfonia to Il nome glorioso Music for Compline in terra, santificato in cielo Tomaso Albinoni 1671–1751 for trumpet, strings & continuo in C Sinfonia for strings & continuo Francesco Maria Veracini 1690–1768 i I. Allegro 2:09 in G minor Si 7 w Fuga, o capriccio con o II. Adagio 0:51 5 I. Allegro 2:17 quattro soggetti * 3:05 p III. Allegro 1:20 6 II. Larghetto è sempre piano 1:27 in D minor for strings & continuo 4:20 7 III.
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III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
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Antonio Vivaldi Born: March 4, 1678 Died: July 28, 1741
“Spring” from The Four Seasons Antonio Vivaldi Born: March 4, 1678 Died: July 28, 1741 Antonio Vivaldi was born in institution became famous, Venice, Italy, which is where and people came from miles he spent most of his life. around the hear Vivaldi’s His father, a professional talented students perform the musician at St. Mark’s beautiful music he had written Church, taught him to play for them. the violin, and the two often performed together. Vivaldi was one of the best composers of his time. Although Vivaldi was He wrote operas, sonatas ordained a priest in the and choral works, but is Catholic Church (he was particularly known for his called the “Red Priest” concertos (he composed over because of his flaming 500, although many have red hair), health problems been lost). One of the most prevented him from famous sets is The Four celebrating the Mass and Seasons. After his death, he was not associated with Vivaldi’s music was virtually any one particular church. forgotten for many years. He continued to study However, in the early 1900’s, and practice the violin many of his original scores and became a teacher at were rediscovered and his a Venetian orphanage for popularity and reputation have young girls, a position continued to grow since that he held for the rest of his time. life. The orchestra of this Antonio Vivaldi Spring Spring has come, and joyfully 1. This concerto has a feeling of: the birds welcome it with cheerful song, and the streams, a. constant motion and change caressed by the breath of zephyrs, b.
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Unwrap the Music Concerts with Commentary
UNWRAP THE MUSIC CONCERTS WITH COMMENTARY UNWRAP VIVALDI’S FOUR SEASONS – SUMMER AND WINTER Eugenie Middleton and Peter Thomas UNWRAP THE MUSIC VIVALDI’S FOUR SEASONS SUMMER AND WINTER INTRODUCTION & INDEX This unit aims to provide teachers with an easily usable interactive resource which supports the APO Film “Unwrap the Music: Vivaldi’s Four Seasons – Summer and Winter”. There are a range of activities which will see students gain understanding of the music of Vivaldi, orchestral music and how music is composed. It provides activities suitable for primary, intermediate and secondary school-aged students. BACKGROUND INFORMATION CREATIVE TASKS 2. Vivaldi – The Composer 40. Art Tasks 3. The Baroque Era 45. Creating Music and Movement Inspired by the Sonnets 5. Sonnets – Music Inspired by Words 47. 'Cuckoo' from Summer Xylophone Arrangement 48. 'Largo' from Winter Xylophone Arrangement ACTIVITIES 10. Vivaldi Listening Guide ASSESSMENTS 21. Transcript of Film 50. Level One Musical Knowledge Recall Assessment 25. Baroque Concerto 57. Level Two Musical Knowledge Motif Task 28. Programme Music 59. Level Three Musical Knowledge Class Research Task 31. Basso Continuo 64. Level Three Musical Knowledge Class Research Task – 32. Improvisation Examples of Student Answers 33. Contrasts 69. Level Three Musical Knowledge Analysis Task 34. Circle of Fifths 71. Level Three Context Questions 35. Ritornello Form 36. Relationship of Rhythm 37. Wordfind 38. Terminology Task 1 ANTONIO VIVALDI The Composer Antonio Vivaldi was born and lived in Italy a musical education and the most talented stayed from 1678 – 1741. and became members of the institution’s renowned He was a Baroque composer and violinist.
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Cal Poly Chamber Orchestra to Perform June 1
Skip to Content Cal Poly News Search Cal Poly News Go California Polytechnic State University May 15, 2002 Contact: Jo Ann Lloyd (805) 756-1511 FOR IMMEDIATE RELEASE Cal Poly Chamber Orchestra To Perform June 1 The Cal Poly Chamber Orchestra and some of the university's leading musicians and singers will perform music by Béla Bartók, Antonio Vivaldi, Giovanni Battista Pergolesi, Wolfgang Amadeus Mozart and Franz Schubert in its Spring Concert at 8 p.m. June 1 in the Theatre on campus. Founder and Music Professor Clifton Swanson will conduct the orchestra. Mi Young Shin, a 2000 graduate of the Cal Poly music program and assistant conductor of the orchestra, will lead the ensemble in a performance of Bartók's "Rumanian Dances," which include seven folk dances: the stick dance and sash dance, "in one spot," the horn dance, a Rumanian polka, and two fast dances. The orchestra will also perform with winners of the Music Department's solo competition, which was held in March. Recent Music Department graduate Jessica Getman, oboist, will perform the Allegro non molto from Vivaldi's Concerto in A minor for oboe and strings. In addition, three sopranos will perform. Business administration major Veronica Cull will sing "Stizzoso, mio stizzoso, voi fatte il borioso" from Pergolesi's "La Serva Padrona." Music major Valerie Laxson will perform Mozart's "Vedrai, carino, se sei buonino" from the opera "Don Giovanni." Music major Jennifer Cecil will sing the well-known "Alleluia" from Mozart's motet "Exsultate, jubilate," with Shin conducting. The concert will conclude with Schubert's Symphony No.
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Towards a Cultural History of Italian Oratorio Around 1700: Circulations, Contexts, and Comparisons
This is a working paper with minimal footnotes that was not written towards publication—at least not in its present form. Rather, it aims to provide some of the wider historiographical and methodological background for the specific (book) project I am working on at the Italian Academy. Please do not circulate this paper further or quote it without prior written consent. Huub van der Linden, 1 November 2013. Towards a cultural history of Italian oratorio around 1700: Circulations, contexts, and comparisons Huub van der Linden “Parlare e scrivere di musica implica sempre una storia degli ascolti possibili.” Luciano Berio, Intervista sulla musica (1981) 1. Oratorio around 1700: Historiographical issues since 1900 In the years around 1900, one Italian composer was hailed both in Italy and abroad as the future of Italian sacred music. Nowadays almost no one has heard of him. It was Don Lorenzo Perosi (1872-1956), the director of the Sistine Chapel. He was widely seen as one of the most promising new composers in Italy, to such a degree that the Italian press spoke of il momento perosiano (“the Perosian moment”) and that his oratorios appeared to usher in a new flourishing of the genre.1 His oratorios were performed all over Europe as well as in the USA, and received wide-spread attention in the press and music magazines. They also gave rise to the modern historiography of the genre. Like all historiography, that of Italian oratorio is shaped by its own historical context, and like all writing about music, it is related also to music making.
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Voice of the Forgotten American: the Oratorios of Horatio Parker
VOICE OF THE FORGOTTEN AMERICAN: THE ORATORIOS OF HORATIO PARKER BY HOWARD SWYERS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree, Doctor of Music. ___________________________________ Carmen-Helena Tellez, Research Director __________________________________ Patricia Stiles, Chairperson __________________________________ Mary Ann Hart __________________________________ Timothy Noble ii Copyright © 2013 Howard Swyers iii ACKNOWLEDGEMENTS Special thanks to Patricia Stiles for being a mentor and a great voice instructor for these many long years. Thanks to Carmen Tellez for her unwavering support, optimism, and the many opportunities she has provided me. Thanks to Patricia Wise and Tim Noble for serving on my committee and for their support. Thanks to my family for putting up with me during the course of my schooling Thanks to all the many people at Indiana University who have helped and supported me through the years in both employment and study. Thanks to Terence Kelly for helping me get started down this long path. iv TABLE OF CONTENTS Acknowledgements iv List of Figures vi List of Musical Examples vii List of Tables ix Chapter 1 - The Cultural Context of Horatio Parker’s Life and His Music 1 Chapter 2 – Hora Novissima 27 Chapter 3 – The Legend of Saint Christopher 70 Chapter 4 – Morven and the Grail 116 Chapter 5 - Conclusion 168 Bibliography 171 v LIST OF FIGURES Figure 1 – Chart of Hora Novissima Structure 29 Figure 2 – First page of libretto.
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Antonio Vivaldi from Wikipedia, the Free Encyclopedia
Antonio Vivaldi From Wikipedia, the free encyclopedia Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741) was an Italian Baroque composer, virtuoso violinist, teacher and cleric. Born in Venice, he is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He is known mainly for composing many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than forty operas. His best-known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi (who had been ordained as a Catholic priest) was employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died less than a year later in poverty. Life Childhood Antonio Lucio Vivaldi was born in 1678 in Venice, then the capital of the Republic of Venice. He was baptized immediately after his birth at his home by the midwife, which led to a belief that his life was somehow in danger. Though not known for certain, the child's immediate baptism was most likely due either to his poor health or to an earthquake that shook the city that day.
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Roman REZNIK Delphine CONSTANTIN-REZNIK
Roman REZNIK | Delphine CONSTANTIN-REZNIK Roman REZNIK Delphine CONSTANTIN-REZNIK Henry ECCLES Antoine DARD Antonio VIVALDI Johann Sebastian BACH 1 This recording offers a nostalgic trip through 18th century Europe at the peak of the Baroque Dard played often in an opera orchestra, evidenced here in the way he uses the bassoon as a bel period. The bassoon and the harp were already popular instruments but it was very unusual canto tenor, often in a high register and with such technical difficulty that no one dared attempt for composers to write music for these two instruments together. Despite that, they unite in a similar techniques until much later. Still, his music is very lyrical and contains ornaments from the fascinating sound full of contrasts. so-called “style galant”. Like practically all Baroque music, the music on this CD includes works with “basso continuo” or figured bass which could be played by basically any instrument, in this case harp. In 1716 Antonio Vivaldi was appointed “maestro dei concerti” at the Ospedale della Pietá in Over time both the bassoon and the harp have gone through big changes, especially with regards Venice where he stayed for almost 20 years as music teacher at this famous school for illegitimate to register and the ability to play chromatically. The addition of the harp’s pedals made the or unwanted girls. Vivaldi composed numerous sonatas and concertos for various instruments instrument much more flexible and on a modern bassoon one can play much higher which makes for these apparently musically gifted students. Among these are cello sonatas.
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Estreno Mundial Del Motezuma De Vivaldi
A partir del descubrimiento sobre Vivaldi más importante en los últimos cincuenta años Estreno mundial del Motezuma de Vivaldi Gabriel Pareyón Rotterdam, 15 de junio [de 2005].- El fin de semana pasado se presentó en De Doelen, considerada la sala de conciertos más importante de esta ciudad holandesa, la ópera en tres actos Motezuma (1733), de Antonio Vivaldi (1678- 1741), en versión de concierto, sin decorados ni escenografía. La interpretación, que se anunció en todo el país como “estreno mundial”, estuvo a cargo del ensamble barroco Modo Antiguo, bajo la dirección de Federico María Sardelli. En realidad la ópera se estrenó el 14 de noviembre de 1733 en el teatro Sant’Angelo de Venecia, pero con tan mala fortuna que nunca se volvió a ejecutar hasta el sábado pasado, tras 271 años de silencio. Este largo período de olvido se debió principalmente a dos causas. Una de orden musical y otra fortuita. La primera ocurrió con el estreno mismo de la obra en que, al parecer, la mezzosoprano solista Anna Girò tuvo algunos problemas para cantar. Como resultado la prima donna de Vivaldi no volvería a interpretar ninguna ópera suya, a excepción de Il Tamerlano (1735). A ello se sumó cierto malestar del público, que tal vez juzgó la pieza “demasiado seria” (pues no hay siquiera un duo de amor ni ninguna danza) y que además esperaba del compositor, en vano, algún gesto de sumisión ante la poderosa novedad del estilo de Nápoles. Éste, conocido como “estilo galante”, significaría la vuelta de página entre las tendencias veneciana y napolitana, que se tradujo en el paso del barroco hacia el clasicismo (transición que en México representó Ignacio de Jerusalem [1707-1769] frente al estilo de Manuel de Sumaya [1676-1755]).
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