baroque music yr10

7/27/2019 Baroque Music Yr10

1/56

BAROQUE MUSIC


2/56

Baroque

DATES:

BAROQUE:

The Baroque period stretches roughly

from 1600 to 1750 (coincides with the

death of J.S. Bach.)

From the Portuguese word barroco

meaning an ornamented piece of jewellery.First used to describe the highly decorative

style of architecture at the time.


3/56

Fingerprints of musical style

Early Baroque composers favour a light, homophonicmusical texture melody plus simple chordalaccompaniment; but before long, there is a return topolyphonic (contrapuntal) textures.

The basso continuo, or figured bass, becomes the

musical foundation for most types of piece providing apurposeful bass-line (sometimes a walking bass)making the music move steadily onwards.

The same musical mood is usually kept throughout anentire piece.

The violin family takes over from the viols; the orchestrabegins to take shape, with the string section as a firmbasis always with keyboard continuo (harpsichord ororgan) filling out the harmonies above the figured bass

and decorating the musical texture.


4/56

Fingerprints 2

The system of modes falls out of use by the end of the 17th century;music is now based on major and minor scales.

Typical forms used by Baroque composers: binary, ternary(including the da capoaria), rondeau, variations (including theground bass, chaconne, passacaglia), ritornello form, fugue.

Main types of Baroque music:vocal chorale, recitative and aria, opera, oratorio, cantata;instrumental Italian overture, French overture, toccata, prelude,chorale prelude, dance suite, trio sonatas (sonata da camera,sonata da chiesa), concerto grosso, solo concerto.

Often, energetic rhythms drive the music forward: melodies arefrequently long and flowing, and decorated with ornaments (egappoggiaturas, trills); contrasts (particularly in concertos), ofinstrumental timbres, of few instruments against many, of loudcontrasted against soft (terraced dynamics, sometimes echo

effects), and blocks of sound of different timbres (eg strings andwind alternately, then together).


5/56

Instruments-Harpsichord

A harpsichord is the general term for a family of Europeankeyboardinstruments, including the large instrument nowadayscalled a harpsichord, but also the smaller virginals and the spinet.

All these instruments generate sound by plucking a string ratherthan striking one, as in a piano or clavichord. The harpsichord familyis thought to have originated when a keyboard was affixed to theend of a psaltery, providing a mechanical means to pluck the strings.
http://en.wikipedia.org/wiki/Musical_keyboardhttp://en.wikipedia.org/wiki/Musical_instrumenthttp://en.wikipedia.org/wiki/Musical_instrumenthttp://en.wikipedia.org/wiki/Musical_keyboardhttp://en.wikipedia.org/wiki/Musical_instrumenthttp://en.wikipedia.org/wiki/Pianohttp://en.wikipedia.org/wiki/Soundhttp://en.wikipedia.org/wiki/Clavichordhttp://en.wikipedia.org/wiki/Clavichordhttp://en.wikipedia.org/wiki/Strings_%28music%29http://en.wikipedia.org/wiki/Pianohttp://en.wikipedia.org/wiki/Clavichordhttp://en.wikipedia.org/wiki/Psalteryhttp://en.wikipedia.org/wiki/Psalteryhttp://en.wikipedia.org/wiki/Psalteryhttp://en.wikipedia.org/wiki/Clavichordhttp://en.wikipedia.org/wiki/Pianohttp://en.wikipedia.org/wiki/Strings_%28music%29http://en.wikipedia.org/wiki/Soundhttp://en.wikipedia.org/wiki/Musical_instrumenthttp://en.wikipedia.org/wiki/Musical_keyboard


6/56

Baroque Orchestra

Typical features include: Strings to which composers would add 1 or 2

flutes (or recorders), oboes, bassoons, perhapshorns, occasionally trumpets and kettle drums.

Organ or harpsichord continuo to build upchords on a bass line (figured bass),

Effects of contrast- dynamics and textures.

Ribbons of sound- oboes and trumpets against

strings, or Blocks of sound- contrasting groups- strings

then wind then tutti (all) resulting in terraceddynamics rather than crescendo or diminuendo.


7/56

Baroque Orchestra

The Baroque Orchestra is the earliest exampleof a true orchestra which came into existence inthe mid-late 1600s. Its origins were in Francewhere Jean-Baptiste Lully added oboes

(hautboys) and transverse flutes to his vingt-quatre violons du Roy. As well as violins andwoodwind, the baroque orchestra would havestill contained continuo instruments such as theharpsichord or theorbo (lute). The new-fangled

instrumentation and orchestration soon spreadto the rest of Europe and soon became thestandard solo instrumental grouping.
http://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Flutehttp://en.wikipedia.org/w/index.php?title=Vingt-quatre_violons_du_Roy&action=edithttp://en.wikipedia.org/wiki/Flutehttp://en.wikipedia.org/w/index.php?title=Vingt-quatre_violons_du_Roy&action=edithttp://en.wikipedia.org/w/index.php?title=Vingt-quatre_violons_du_Roy&action=edithttp://en.wikipedia.org/wiki/Harpsichordhttp://en.wikipedia.org/wiki/Harpsichordhttp://en.wikipedia.org/wiki/Harpsichordhttp://en.wikipedia.org/w/index.php?title=Vingt-quatre_violons_du_Roy&action=edithttp://en.wikipedia.org/w/index.php?title=Vingt-quatre_violons_du_Roy&action=edithttp://en.wikipedia.org/w/index.php?title=Vingt-quatre_violons_du_Roy&action=edithttp://en.wikipedia.org/wiki/Flutehttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Orchestra


8/56


9/56

Typical forms used by Baroquecomposers

Binary (AB)

Ternary (including the da capoaria) (ABA)

Rondo (ABACADA)Variations (including the ground bass,

chaconne, passacaglia)

Ritornello form Fugue


10/56

Main types of Baroque music

VOCAL OPERA, ORATORIO, chorale,recitative and aria, cantata;

INSTRUMENTAL CONCERTO GROSSO,SOLO CONCERTO, FUGUE, Italianoverture, French overture, toccata,prelude, chorale prelude, dance suite, trio

sonatas (sonata da camera, sonata dachiesa),


11/56

OPERA

Opera refers to a dramaticart form, originating in Italy,in which the emotional content or primary entertainmentis conveyed to the audience as much through music,both vocal and instrumental, as it is through the lyrics.

From the beginning of the form (about 1600), there hasbeen contention whether the music is paramount, or thewords

The drama is presented using the primary elements oftheatre such as scenery, costumes, and acting. However,

the words of the opera, or libretto, are customarily sungrather than spoken. The singers are accompanied by amusical ensemble ranging from a small instrumentalensemble to a full symphonic orchestra.
http://en.wikipedia.org/wiki/Dramahttp://en.wikipedia.org/wiki/Arthttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/1600http://en.wikipedia.org/wiki/Theatrehttp://en.wikipedia.org/wiki/Costumehttp://en.wikipedia.org/wiki/Actinghttp://en.wikipedia.org/wiki/Librettohttp://en.wikipedia.org/wiki/Singinghttp://en.wikipedia.org/wiki/Singerhttp://en.wikipedia.org/wiki/Musical_ensemblehttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Musical_ensemblehttp://en.wikipedia.org/wiki/Singerhttp://en.wikipedia.org/wiki/Singinghttp://en.wikipedia.org/wiki/Librettohttp://en.wikipedia.org/wiki/Actinghttp://en.wikipedia.org/wiki/Costumehttp://en.wikipedia.org/wiki/Theatrehttp://en.wikipedia.org/wiki/1600http://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Arthttp://en.wikipedia.org/wiki/Drama


12/56

ORATORIO

An oratorio is a large musical composition fororchestra, vocal soloists and chorus. It differs from anopera in that it does not have scenery, costumes, oracting. Oratorio closely mirrored opera in all ages inmusical style and form, except that choruses were more

prominent in oratorio than in opera. The peak period forcomposition of oratorios was the 17th and 18thcenturies.

Most oratorios from the common practice period to thepresent day have biblical themes, but a number of

composers, notably George Frideric Handel, wrotesecularoratorios based on themes from GreekandRomanmythology. Whether religious or secular, thetheme of an oratorio is meant to be weighty, and caninclude such topics as the creation of the world, the lifeofJesus, or the career of a classical hero or biblicalprophet.
http://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Solo_%28music%29http://en.wikipedia.org/wiki/Musical_compositionhttp://en.wikipedia.org/wiki/Choirhttp://en.wikipedia.org/wiki/Musical_compositionhttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Solo_%28music%29http://en.wikipedia.org/wiki/Choirhttp://en.wikipedia.org/wiki/Theatrical_sceneryhttp://en.wikipedia.org/wiki/Theatrical_sceneryhttp://en.wikipedia.org/wiki/Costumehttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Theatrical_sceneryhttp://en.wikipedia.org/wiki/Costumehttp://en.wikipedia.org/wiki/Biblehttp://en.wikipedia.org/wiki/Biblehttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Greek_mythologyhttp://en.wikipedia.org/wiki/Greek_mythologyhttp://en.wikipedia.org/wiki/Roman_mythologyhttp://en.wikipedia.org/wiki/Mythologyhttp://en.wikipedia.org/wiki/Greek_mythologyhttp://en.wikipedia.org/wiki/Roman_mythologyhttp://en.wikipedia.org/wiki/Mythologyhttp://en.wikipedia.org/wiki/Jesushttp://en.wikipedia.org/wiki/Jesushttp://en.wikipedia.org/wiki/Jesushttp://en.wikipedia.org/wiki/Mythologyhttp://en.wikipedia.org/wiki/Roman_mythologyhttp://en.wikipedia.org/wiki/Greek_mythologyhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Biblehttp://en.wikipedia.org/wiki/Costumehttp://en.wikipedia.org/wiki/Theatrical_sceneryhttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Choirhttp://en.wikipedia.org/wiki/Solo_%28music%29http://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Musical_composition


13/56

CONCERTO GROSSO

The concerto grosso (pluralconcerti grossi) (Italian forbig concert) was a popular form ofbaroque music usingan ensemble and usually having four to six movementsin which the musical material is passed between a small

group of soloists (the concertino- little ensemble) andfull orchestra (the ripieno- filling).

Other major composers ofconcerti grossiwere GeorgFriedrich Hndel, who expanded the ripienoto includewind instruments. Several of the Brandenburg Concerti

ofJohann Sebastian Bach also loosely follow theconcerto grossoform, notably the 2nd Concerto, whichhas a concertinoof recorder, oboe, trumpet, and soloviolin.
http://en.wikipedia.org/wiki/Pluralhttp://en.wikipedia.org/wiki/Italian_languagehttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Ensemblehttp://en.wikipedia.org/wiki/Concertino_%28group%29http://en.wikipedia.org/wiki/Ripienohttp://en.wikipedia.org/wiki/Georg_Friedrich_H%C3%A4ndelhttp://en.wikipedia.org/wiki/Georg_Friedrich_H%C3%A4ndelhttp://en.wikipedia.org/wiki/Brandenburg_Concertihttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/Brandenburg_Concertihttp://en.wikipedia.org/wiki/Georg_Friedrich_H%C3%A4ndelhttp://en.wikipedia.org/wiki/Georg_Friedrich_H%C3%A4ndelhttp://en.wikipedia.org/wiki/Ripienohttp://en.wikipedia.org/wiki/Concertino_%28group%29http://en.wikipedia.org/wiki/Ensemblehttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Italian_languagehttp://en.wikipedia.org/wiki/Plural


14/56

SOLO CONCERTO

In classical music, the word concerto (pl. concertiorconcertos; from the Italianconcerto, which meansconcert) is a label for a piece in which a small musicalgroup and a large musical group are given distinct roles,with the smaller group to the fore.

The most common kind of concerto pairs a soloinstrument with a full orchestra. The term also impliesthe musical form of a piece, as most pieces called"concerto" have three movements, of which the first istypically in sonata form and the last typically a rondo.

The term apparently arose in the beginning of the 17thcentury, and came to describe chiefly compositionswhich bring unequal instrumental or vocal forces intoopposition.
http://en.wikipedia.org/wiki/European_classical_musichttp://en.wikipedia.org/wiki/Italian_languagehttp://en.wikipedia.org/wiki/Italian_languagehttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Solo_%28music%29http://en.wikipedia.org/wiki/Musical_formhttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Musical_formhttp://en.wikipedia.org/wiki/Movement_%28music%29http://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Movement_%28music%29http://en.wikipedia.org/wiki/Rondohttp://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Rondohttp://en.wikipedia.org/wiki/Rondohttp://en.wikipedia.org/wiki/Sonata_formhttp://en.wikipedia.org/wiki/Movement_%28music%29http://en.wikipedia.org/wiki/Musical_formhttp://en.wikipedia.org/wiki/Orchestrahttp://en.wikipedia.org/wiki/Solo_%28music%29http://en.wikipedia.org/wiki/Italian_languagehttp://en.wikipedia.org/wiki/European_classical_music


15/56

Ritornello form

In both types of concerto, movementsare built up in ritornello form.

The music starts off with the ritornello

(little return) played by the ripieno group(tutti meaning all) with the soloist(s)

joining in. This is the main theme and itreturns at various points throughout themovement. It may reappear in full or inshortened form.


16/56

Ritornello structure

Between appearances of the ritornello there arecontrasting sections of music called episodes.

Ritornello

Tutti

Episode1

Soloist(s)

Ritornello

Tutti

Episode2

Soloist(s)

Ritornello

Tutti


17/56

FUGUE

In music, a fugue is a type ofcontrapuntal composition.It begins with a theme stated by one of the voicesplaying alone. A second voice then enters and plays thesame theme, while the first voice continues on with acontrapuntal accompaniment. The remaining voices

enter one by one, each beginning by stating the sametheme. The remainder of the fugue develops thematerial further using all of the voices and, usually,multiple statements of the theme.

Middle and late Baroque composers such as Dieterich

Buxtehude (16371707) and Johann Pachelbel (16531706) contributed greatly to the development of thefugue, and the form reached ultimate maturity in theworks ofJohann Sebastian Bach (16851750).
http://en.wikipedia.org/wiki/Counterpointhttp://en.wikipedia.org/wiki/Dieterich_Buxtehudehttp://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Johann_Pachelbelhttp://en.wikipedia.org/wiki/Johann_Pachelbelhttp://en.wikipedia.org/wiki/Dieterich_Buxtehudehttp://en.wikipedia.org/wiki/Dieterich_Buxtehudehttp://en.wikipedia.org/wiki/Johann_Pachelbelhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/Johann_Pachelbelhttp://en.wikipedia.org/wiki/Dieterich_Buxtehudehttp://en.wikipedia.org/wiki/Dieterich_Buxtehudehttp://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Counterpoint


18/56

IDENTIFY THE FORM

1)

2)

3)4)

5)

CONCERTO GROSSO

ORATORIO

FUGUE

OPERA

SOLO CONCERTO


19/56

What is ornamentation?

In music, ornaments are musical flourishes thatare not necessary to the overall melodic (orharmonic) line, but serve to decorate or"ornament" that line. They are performed as"fast notes" around a central note. The amount

of ornamentation in a piece of music can varyfrom quite extensive to relatively little or evennone.

In the baroque period, it was common for

performers to improvise ornamentation on agiven melodic line. A singer performing a dacapo aria, for instance, would sing the melodyrelatively unornamented the first time, butdecorate it with additional flourishes the second

time.
http://en.wikipedia.org/wiki/Improvisehttp://en.wikipedia.org/wiki/Improvisehttp://en.wikipedia.org/wiki/Da_capo_ariahttp://en.wikipedia.org/wiki/Da_capo_ariahttp://en.wikipedia.org/wiki/Da_capo_ariahttp://en.wikipedia.org/wiki/Da_capo_ariahttp://en.wikipedia.org/wiki/Da_capo_ariahttp://en.wikipedia.org/wiki/Da_capo_ariahttp://en.wikipedia.org/wiki/Improvise


20/56

Trill

The trill is a musicalornament consisting of arapid alternation between two adjacent notes of ascale (compare tremolo).

In modern musical notation a trill is generallyindicated with the letters trabove the trilled note.This has sometimes been followed by a squigglyline, and sometimes in the past, the squiggly lineon its own was used. The following two notationsare equivalent:
http://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Ornament_%28music%29http://en.wikipedia.org/wiki/Tremolohttp://en.wikipedia.org/wiki/Tremolohttp://en.wikipedia.org/wiki/Musical_notationhttp://en.wikipedia.org/wiki/Musical_notationhttp://en.wikipedia.org/wiki/Tremolohttp://en.wikipedia.org/wiki/Ornament_%28music%29http://en.wikipedia.org/wiki/Music


21/56

Trill

The usual way of executing a trill isto rapidly alternate between the noteindicated and the note directly above

it in the given scale


22/56

Acciaccatura

From the Italian word acciaccare, "to crush";The acciaccatura, is perhaps bestthought of as a shorter, less melodically

significant type of ornament. It is writtenusing a grace note (often a quaver, oreighth note), with an oblique stroke

through the stem:


23/56

The exact interpretation of this will vary according to

the tempo of the piece, but the following is possible:

Acciaccatura


24/56

A short figure consisting of the note above the one indicated, the note

itself, the note below the one indicated, and the note itself again. It isindicated by a mirrored S-shape lying on its side above the staff. An

inverted turn(the note below the one indicated, the note itself, the

note above it, and the note itself again) is usually indicated by

putting a short vertical line through the normal turn sign, though

sometimes the sign itself is turned upside down.

If the turn symbol is placed directly above a note, it is performed

exactly as outlined above. If it is placed between two notes, however,

the note before the symbol is played, then the turn, and then the

following note. So the following turns:


25/56

might be played like this:


26/56

The mordentis thought of as a rapid single alternationbetween an indicated note, the note above (called the

upper mordent) or below (called the lower mordentor

mordent) the indicated note, and the indicated note

again.

The upper mordent is indicated by a short squiggle; the

lower mordent is the same with a short vertical line

through it:
http://en.wikipedia.org/wiki/Mordenthttp://en.wikipedia.org/wiki/Mordent


27/56

As with the trill, the exact speed with which themordent is performed will vary according to the

tempo of the piece, but at moderate tempi the above

might be executed as follows:


28/56

From the Italian word appoggiare, "to lean upon"; The

appoggiatura is important melodically and often

suspend the principal note by taking away the time-

value of the appoggiaturaprefixed to it The added note

(the unessential note) is one degree higher or lower thanthe principal note. The appoggiatura is written as a

grace note prefixed to a principal note and printed in

small character, usually without the oblique stroke:


29/56

This would be played as follows:


30/56

Baroque composers

Corelli

A.Scarlatti

D. ScarlattiTelemann

Monteverdi

Vivaldi

Purcell

J.S. Bach

Handel

Couperin

Lully

Rameau


31/56

J.S. Bach 1685-1750J.S. Bach was born in Eisenach, Germany. He

came from a long family history ofprofessional musicians including churchorganists and composers.

Johann Sebastian Bach was a prolific Germancomposer and organist whose sacred andsecular works for choir, orchestra and soloinstruments drew together the strands of thebaroque genre and brought it to its ultimate

maturity.Although he introduced no new forms, he

enriched the prevailing German style with arobust contrapuntal technique, a control ofharmonic and motivic organisation from thesmallest to the largest scales, and theadaptation of rhythms and textures from

abroad, particularly Italy and France.Many people consider him to be the greatest

Baroque composer, and one of the greatestcomposers of all time. He was one of theleading figures, along with the likes ofGeorge Frideric Handel, in the transition frombaroque to Classicalmusic

Mass in B minor

Brandenburg Concertos

St Matthew Passion

St John PassionSuites (English, French)

48 Preludes and Fugues

Christmas Oratorio

Solo Concertos

Organ Works

Cantatas
http://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Germanyhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Counterpointhttp://en.wikipedia.org/wiki/Counterpointhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Classical_music_erahttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Classical_music_erahttp://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Musichttp://en.wikipedia.org/wiki/Classical_music_erahttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Counterpointhttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Germany


32/56

G.F. Handel 1685-1759He was a German/British Baroque

composer who was a leading composerofconcerti grossi, operas and oratorios.

Born in Germany as Georg FriedrichHndel he lived most of his adult life inEngland, becoming a subject of the

British crown in 1727.His most famous piece is Messiah, anoratorio set to texts from the KingJames Bible; other well-known worksare WaterMusicand Music for the Royal

Fireworks. He deeply influenced manyof the composers who came after him,including Haydn, Mozart, andBeethoven, and his work helped leadthe transition from the Baroque to theClassical era.

Oratorios- Messiah

Acis and Galatea

14 Operas-incl.

LotarioAriodante, Alcina and

Rodelinda.

Water Music

Royal Fireworks

18 Organ Concertos

12 Concerto GrossiSonatas and Suites.
http://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Concerti_grossihttp://en.wikipedia.org/wiki/Concerti_grossihttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Oratoriohttp://en.wikipedia.org/wiki/Concerti_grossihttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Oratoriohttp://en.wikipedia.org/wiki/Germanyhttp://en.wikipedia.org/wiki/Englandhttp://en.wikipedia.org/wiki/Great_Britainhttp://en.wikipedia.org/wiki/Englandhttp://en.wikipedia.org/wiki/Great_Britainhttp://en.wikipedia.org/wiki/Messiah_%28Handel%29http://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/Water_Music_%28Handel%29http://en.wikipedia.org/wiki/Water_Music_%28Handel%29http://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Water_Music_%28Handel%29http://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Joseph_Haydnhttp://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttp://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttp://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttp://en.wikipedia.org/wiki/Joseph_Haydnhttp://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttp://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttp://en.wikipedia.org/wiki/Ludwig_van_Beethovenhttp://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozarthttp://en.wikipedia.org/wiki/Joseph_Haydnhttp://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Music_for_the_Royal_Fireworkshttp://en.wikipedia.org/wiki/Water_Music_%28Handel%29http://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/King_James_Biblehttp://en.wikipedia.org/wiki/Messiah_%28Handel%29http://en.wikipedia.org/wiki/Great_Britainhttp://en.wikipedia.org/wiki/Englandhttp://en.wikipedia.org/wiki/Germanyhttp://en.wikipedia.org/wiki/Oratoriohttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Concerti_grossihttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Baroque_music


33/56

Monteverdi 1567-1643

His work marks the transitionfrom Renaissance to Baroquemusic. During his long life heproduced work that can be

classified in both categories,and he was one of the mostsignificant revolutionaries thatbrought about the change instyle. Monteverdi wrote the

earliest dramatically viableopera, Orfeo, and wasfortunate enough to enjoyfame during his lifetime.

Operas- Orfeo,Arianna

Motets

Madrigals

Vespers
http://en.wikipedia.org/wiki/Renaissance_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Renaissance_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Orfeohttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Orfeohttp://en.wikipedia.org/wiki/Orfeohttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Renaissance_music


34/56

Alessandro Scarlatti 1659-1725

Italian composer who had written hisfirst opera by the age of 12.

He was especially famous for his operasand chamber cantatas. He is consideredthe founder of the Neapolitan school of

opera. He was the father of two otherBaroque composers, Domenico Scarlattiand Pietro Filippo Scarlatti.

The first composer to stronglydifferentiate between the singing styles

of aria and recitative and usedadvanced harmonic procedures for thetime.

Credited with popularising the Da CapoAria form.

Opera- Pompeo

Cantatas- over 600

6 Concerto GrossiOratorios
http://en.wikipedia.org/wiki/Cantatahttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Cantatahttp://en.wikipedia.org/wiki/Neapolitanhttp://en.wikipedia.org/wiki/Neapolitanhttp://en.wikipedia.org/wiki/Neapolitanhttp://en.wikipedia.org/wiki/Domenico_Scarlattihttp://en.wikipedia.org/wiki/Pietro_Filippo_Scarlattihttp://en.wikipedia.org/wiki/Pietro_Filippo_Scarlattihttp://en.wikipedia.org/wiki/Domenico_Scarlattihttp://en.wikipedia.org/wiki/Pietro_Filippo_Scarlattihttp://en.wikipedia.org/wiki/Pietro_Filippo_Scarlattihttp://en.wikipedia.org/wiki/Domenico_Scarlattihttp://en.wikipedia.org/wiki/Neapolitanhttp://en.wikipedia.org/wiki/Cantatahttp://en.wikipedia.org/wiki/Opera


35/56

Domenico Scarlatti 1685-1757

He was an Italiancomposer andharpsichordist. He was extremelyinfluential in the development ofkeyboard music, especially in Spain,Portugal and England, through his

individual style. A harpsichord virtuoso from a young

age, he revolutionised keyboardtechnique. First to use rapidarpeggios, repetition of the same

note and the crossing of hands. He wrote a lot of works with a

Moorish/ Arabic flavour as the resultof living in Portugal and Spain forlong periods of his life.

Over 500 harpsichord

sonatas.

14 SinfoniasHarpsichord

Concerto
http://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Italy


36/56

Telemann 1681-1767 He was a Germancomposer, and organist.

Self-taught in music, he studied law at theUniversity of Leipzig. The most prolificcomposer of his era, he was a contemporaryofJohann Sebastian Bach and a friend ofGeorge Frideric Handel. While in the presentday Bach is generally thought of as thegreater composer, Telemann was widely

renowned for his musical abilities during hislifetime. Telemann traveled widely, absorbing various

musical styles and incorporating them intohis own compositions. He is known forwriting concertos for unusual combinations

of instruments, such as multiple violas ortrumpets. He held a series of important musical

positions, culminating in that of musicdirector of the five largest churches inHamburg, from 1720 until his death in 1767.He was succeeded by his godson Carl PhilippEmanuel Bach.

Opera- Pimpone(46)St Luke Passion

St Mark Passion

St Matthew Passion

1043 Cantatas

Over 25 Solo Concertos

Over 600 Suites
http://en.wikipedia.org/wiki/Germanyhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/University_of_Leipzighttp://en.wikipedia.org/wiki/University_of_Leipzighttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Hamburghttp://en.wikipedia.org/wiki/1720http://en.wikipedia.org/wiki/Hamburghttp://en.wikipedia.org/wiki/1720http://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bachhttp://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bachhttp://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bachhttp://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bachhttp://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bachhttp://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bachhttp://en.wikipedia.org/wiki/1720http://en.wikipedia.org/wiki/Hamburghttp://en.wikipedia.org/wiki/George_Frideric_Handelhttp://en.wikipedia.org/wiki/Johann_Sebastian_Bachhttp://en.wikipedia.org/wiki/University_of_Leipzighttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Germany


37/56

Corelli 1653- 1713

Italian composer, teacher andviolinist.

His playing and composing werean influence on Bach and hetaught Vivaldi.

He is known as The father ofConcerto Grosso for his work indefining the style.

Despite being influential he wasnot a prolific composer.

12 Concerto Grossi

5 sets (of 12) Trio

Sonatas


38/56

Purcell 1659-1695

English composer and organist. He is generally considered to be one

of England's greatest composersindeed, he has often been calledEngland's finest native composer.

Purcell incorporated Italian andFrench stylistic elements but deviseda peculiarly English style ofBaroquemusic

Composed an enormous amount of

theatrical music for plays includingThe Fairy Queen, a masque for AMidsummer's Night Dream, KingArthur and Indian Queen.

One of his favourite styles of writing

was the Ground Bass.

Opera- Dido and

Aeneas15 Fantasies

Trio Sonatas

Anthems- My heart is

inditing for James 2

Coronation
http://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_music


39/56

Vivaldi 1678-1741

Italian priest, composer andviolinist.

He is one of the composers creditedwith helping the Baroque styleevolve into the Classical style by his

use of harmonic contrasts andinnovative melodies and themes. Bach was deeply influenced by his

concertos and arias and transcribedmany of Vivaldi's works for

harpsichord. He was an extremely prolific

composer.

Over 500 Concertos

46 Operas

73 Sonatas

Oratorios and sacred

music

The Four Seasons


40/56

Lully 1632-1687

Italian born French composer,guitarist, violinist and dancer.

Spent most of his working life inthe service of Louis 14th where he

composed ballets and lateroperas. He transformed the oftenstately court dances into lively,rhythmic affairs and added manyinstruments to the orchestra of

the time. He favoured variation forms such

as Passacaglias and Chaconnes.

Opera- AtysBallets

Dance Suites


41/56

Rameau 1683-1764

Composer, organist andharpsichordist

He was one of the mostimportant French

composers and musictheorists of the Baroqueera. He replaced Jean-Baptiste Lully as thedominant composer of

French opera, and wasattacked by those whopreferred Lully's style.

Operas

Ballet Music

Pieces de Clavecin

(for harpsichord)
http://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Music_theoryhttp://en.wikipedia.org/wiki/Music_theoryhttp://en.wikipedia.org/wiki/Music_theoryhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Music_theoryhttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Operahttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Jean-Baptiste_Lullyhttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Music_theoryhttp://en.wikipedia.org/wiki/Music_theoryhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/France


42/56

Francois Couperin Franois Couperin (born in Paris

November 10, 1668 died September12, 1733 in Paris) was an esteemedFrenchBaroque composer, organistand harpsichordist. Franois Couperinwas known as "Couperin le Grand"

(Couperin the Great) to distinguish himfrom the other members ofthemusically talented Couperin familybecause of his immense virtuosity onthe organ and the harpsichord.

He was indebted to Corelli whose TrioSonata form he introduced to France. J.S. Bach was an admirer of his

harpsichord technique andcompositions.

Harpsichord

and organ

works

Suites
http://en.wikipedia.org/wiki/November_10http://en.wikipedia.org/wiki/1668http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/November_10http://en.wikipedia.org/wiki/1733http://en.wikipedia.org/wiki/November_10http://en.wikipedia.org/wiki/1668http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/1733http://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Couperinhttp://en.wikipedia.org/wiki/Couperinhttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Harpsichordhttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Harpsichordhttp://en.wikipedia.org/wiki/Harpsichordhttp://en.wikipedia.org/wiki/Organ_%28music%29http://en.wikipedia.org/wiki/Couperinhttp://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Francehttp://en.wikipedia.org/wiki/1733http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/September_12http://en.wikipedia.org/wiki/1668http://en.wikipedia.org/wiki/November_10http://en.wikipedia.org/wiki/Paris


43/56

QUIZ

TRY YOUR NEW FOUND KNOWLEDGEWITH THIS INTERACTIVE QUIZ.

JUST CLICK ON THE ANSWER AND FINDOUT IF YOU ARE RIGHT.


44/56

Italian composer, teacher andviolinist. 1653- 1713

He is known as The father ofConcerto Grosso for his work in

defining the style.12 Concerto Grossi

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


45/56

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI

1688- 1733

Baroque composer, organist andharpsichordist.

Harpsichord and organ works

Suites
http://en.wikipedia.org/wiki/Baroquehttp://en.wikipedia.org/wiki/Baroque


46/56

He was an Italian

composer and

harpsichordist.

1685- 1757

He wrote a lot of workswith a Moorish/ Arabicflavour as the result ofliving in Portugal and

Spain for long periods ofhis life.

Over 500 harpsichord

sonatas.

14 SinfoniasHarpsichord Concerto

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAUMONTEVERDI

D.SCARLATTI

CORELLI
http://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Composerhttp://en.wikipedia.org/wiki/Italy


47/56

Opera- Pimpone

(46)St Luke Passion

St Mark PassionSt Matthew Passion

1043 Cantatas

Over 25 Solo Concertos

Over 600 Suites

1681- 1767

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


48/56

1659-1695

Composer andorganist.

One of his favouritestyles of writing was

the Ground Bass.Opera- Dido and Aeneas15 Fantasies

Trio Sonatas

Anthems- My heart is inditing

for James 2 Coronation

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


49/56

1567-1643

Operas- Orfeo,

Motets

Madrigals

Vespers

His work marks the transition

from Renaissance to Baroque

music.

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI
http://en.wikipedia.org/wiki/Renaissance_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Renaissance_music


50/56

1659-1725 Italian composerwho had written his

first opera by theage of 12.

Credited withpopularising the Da

Capo Aria form.

Opera- Pompeo

Cantatas- over 600

6 Concerto Grossi

Oratorios

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


51/56

1632-1687 Spent most of his working life in the service of

Louis 14th where he composed ballets and lateroperas. He transformed the often stately courtdances into lively, rhythmic affairs and added

many instruments to the orchestra of the time. He favoured variation forms such as Passacaglias

and Chaconnes.

Opera- Atys

Ballets

Dance Suites

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


52/56

1685-1750

Mass in B minor

Brandenburg Concertos

St Matthew Passion

St John PassionSuites (English, French)

48 Preludes and Fugues

Christmas Oratorio

Solo Concertos

Organ Works

Cantatas

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


53/56

1683-1764

Composer, organist and

harpsichordist

Operas

Ballet Music

Pieces de Clavecin

(for harpsichord)

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


54/56

1685-1759Oratorios- Messiah

Acis and Galatea

14 Operas-incl.

Lotario

Ariodante, Alcina and

Rodelinda.

Water Music

Royal Fireworks

18 Organ Concertos

12 Concerto Grossi

Sonatas and Suites.

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


55/56

1678-1741

Over 500 Concertos

46 Operas

73 Sonatas

Oratorios and sacred

music

The Four Seasons

TELEMANN

HANDEL

COUPERINPURCELL

VIVALDI

LULLYJ.S.BACH

A.SCARLATTI

RAMEAU

MONTEVERDI

D.SCARLATTI

CORELLI


56/56

Quiz

What is a concerto grosso?

What is a solo concerto?

What is an oratorio?

What is an opera?

What is a fugue?

baroque music yr10

Documents