power point 15 music in the baroque part v

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Music in the Baroque Era: Part V 1600-1750

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Page 1: Power Point 15  Music in the Baroque Part V

Music in the Baroque Era: Part V

1600-1750

Page 2: Power Point 15  Music in the Baroque Part V

The Late Baroque Erain Germany

1700-1750

German composers incorporated German, French, and Italian elements in their compositions.

Page 3: Power Point 15  Music in the Baroque Part V

Dietrich Buxtehude (ca. 1637—1707)

• organist• organ works– based on chorales• chorale preludes (short)• chorale fantasias (long)

– not based on chorales• praeludium—like

Frescobaldi toccatas– Praeludium in E major

• influenced Bach

Page 4: Power Point 15  Music in the Baroque Part V

Georg Philipp Telemann (1681-1767)

• worked throughout Germany and Poland as an ensemble director and opera director

• extremely prolific– operas– solo and trio sonatas– quartets (3 solo instruments plus

continuo)• Quartet for flute, oboe, violin, and

continuo from Tafelmusik

– concertos– overtures– cantatas– orchestral suites– concertos– sacred works

Page 5: Power Point 15  Music in the Baroque Part V

George Frederick Handel (1685-1759)• 1703—Hamburg—Italian operas• 1706—Italy—Italian operas• 1710—London

– Italian operas until 1741• Giulio Cesare

– English oratorios (1732—1752)• Saul• Messiah

• blind 1752• Works

– opera—opera seria• Arias—ritornello Form• combined Italian and German styles

– Italian--tuneful, singable music– German—chromatic harmony,

counterpoint– large ensemble

• orchestra: Water Music• wind band:

Music for the Royal Fireworks

Page 6: Power Point 15  Music in the Baroque Part V

Johann Sebastian Bach

Page 7: Power Point 15  Music in the Baroque Part V

Bach’s life

Page 8: Power Point 15  Music in the Baroque Part V

• born in 1685 in Eisenach—musical town, musical family

• in his lifetime, known only in Germany—never left Germany

Eisenach, Germany

Page 9: Power Point 15  Music in the Baroque Part V

• lived in Arnstadt, 1703-1707

• church organist– organ music– concertato vocal music– studied w/Buxtehude

Arnstadt, Germany

Page 10: Power Point 15  Music in the Baroque Part V

• lived in Weimar, 1708-1717

• organist @ ducal chapel– court chamber music

• concertmeister 1714– cantatas– organ works– harpsichord pieces– instrumental

ensemble works; concertos

Weimar, Germany

Page 11: Power Point 15  Music in the Baroque Part V

• lived in Cöthen, 1717-1723

• court Kapellmeister– solo keyboard

works– instrumental

ensemble works– secular cantatas

Cöthen, Germany

Page 12: Power Point 15  Music in the Baroque Part V

• lived in Leipzig from 1723• cantor of St. Thomas School, dir. of

music in city’s 5 main churches– cantatas (sacred and secular)– oratorios– passions

• St. Matthew Passion• published earlier works• 1729-1741—Director of Leipzig

Collegium Musicum– public concerts

• instrumental music• secular cantatas

– Goldberg Variations– Art of Fugue– Musical Offering– B minor Mass

Leipzig, Germany

Page 13: Power Point 15  Music in the Baroque Part V

Bach’s works

Page 14: Power Point 15  Music in the Baroque Part V

Keyboard• Organ virtuoso

– organ works—same types as Buxtehude. • Praeludium becomes prelude and fugue

(separate works)– Toccata and Fugue in d minor– Prelude and Fugue in a minor, BWV 543

• Chorale Prelude on Durch Adams Fall

• unspecified keyboard works– 2 & 3 part inventions– Well-Tempered Clavier—preludes and

fugues in all 24 major and minor keys– English & French Suites, Partitas

• French dances• German and Italian stylistic elements• Italian Concerto style

Page 15: Power Point 15  Music in the Baroque Part V

Orchestra• overture—orchestral suite in

French style• instrumental concerto• solo concerto– studied Vivaldi’s concertos– Brandenburg concertos• #5--1st keyboard harpsichord concerto• # 3--3 violins, 3 violas, 3 cellos, continuo• # 2--F major, fast-slow-fast, ritornello

form– Corelli-style concerto grosso (ripieno not

necessary)

Page 16: Power Point 15  Music in the Baroque Part V

Cantatas• one or more solo singers and instruments• all parts sung by men (falsettists)• one to a part• chorale cantata—texts and music derived from a chorale

– open with chorale fantasy– arias and recitatives in the middle– 4-part chorale at end

• sacred cantatas– organized around church calendar—one for each Sunday and church holiday– Cantata no. 62– Cantata no. 147

• different from Italian secular cantata:– in German– several singers– sacred

Page 17: Power Point 15  Music in the Baroque Part V

Bach’s compositional style

• church musician, but also composed secular music (little difference)

• counterpoint• sometimes highly dissonant, chromatic harmony