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BAROQUE ERA
1600-1750
Mark Kevin F. Tengco
III-20
BSE Music Education
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Enter
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THE BAROQUE ERA (1650-1750
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RELIGION AND SPIRITUALITY
1618 - 1648 the mounting war between
Protestants and Catholics
Early 17th
century English Puritans brokeaway from church of England; called
themselves pilgrims. Life based on Bible.
Mainly were poor farmers and uneducated
people.
King James Bible was publish in 1611.
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SCIENCE AND TECHNOLOGY
Galileo Galilei discovered a number of naturallaws (for example, uniform accelerated
motion, gravity and oscillation) after a series
of experiments with pendulums, inclined
planes, and projectiles.
also invented the microscope, constructed a
telescope, and observed the planets during
this period
the "father of modern astronomy," as the
"father of modern physics," and as the "father
of science."
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Johannes Kepler engaged in the study of
astronomy and developed the laws ofplanetary motion in 1609.
Rene Descartes, Blaise Pascal, Pierre de
Fermat and Isaac Newton developed thefoundations for analytic geometry,
probability, and integral calculus
Robert Boyle discovered the laws of
pressure. NEX
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William Harvey studied the
circulation of blood and the functionof the heart.
Santorio Santorii measured human
body temperature with his invention,the thermometer
Other inventions of the period include
the syringe, slide rule, barometer, wind
gauge, pressure cooker, tuning fork,
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PAINTING SCULPTURE ARCHITECTURE
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MAIN MENU
MUSICAL
CHARACTERISTICS
VOCAL
FORMS INSTRUMENTAL
FORMS
COMPOSERS
HISTORICAL
BACKGROUND
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The English word baroque is derived from theItalian barocco, meaning bizarre, thoughprobably exuberantwould be a better
translation more accurately reflecting thesense.
originated in the 1860s to describe the highlydecorated style of 17th and 18th centuryreligious and public buildings in Italy, Germanyand Austria
HISTORICAL BACKGROUND
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today the term baroque has come to refer to a
very clearly definable type or genre of music
which originated, broadly speaking, around1600 and came to fruition between 1700 and
1750.
Listen to musicofthe 1200s and 1300s.It's
relatively primitive in terms of melody and
harmony.
If we move to the 1500s we find a great
difference, as Italian music began to blossomand produced the wonderful melodies and
surprisingly sensitive poetry which
accompanied them - or vice versa.
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A major theme underlying music at that time
however was the exploration ofform
There was still so much new to discover: new
melodic lines and harmonic progressions to be
explored, new combinations of instruments,
and new forms in music such as the fugue,canon, and variations on a bassline, a popular
tune or a chorale.
As the 1600s progressed, so these differentmusical forms took on definite shape, and the
period from 1700 to 1750 can clearly be seen
as the "high baroque".
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In north Germany and Holland, composers
such as Froberger, Kerll, and particularly
Dietrich Buxtehude were concentrating mainlyon the art of counterpoint, especially the
fugue.
organ and voice were the major elements.
At the other end of Europe, in Rome, the
instrumental forms of the sonata and concerto
were formalized.
GEOGRAPHICAL INFLUENCES
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Every period in music has certain recognizable
clichs, and much of what is typical in baroque
music, specific cadences and snatches ofmelody, can be traced back to one Arcangelo
Corelli, who seems to have influenced just
about everybody, from his Italian
contemporaries and students to Handel whosojourned in Rome from 1704 to 1710.
"Italian" influences spread northwards while
the stricter north German forms flowedsouthwards, intermingling to produce a
common baroque vocabulary. NE
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Vivaldi, Geminiani, Corelli, Scarlatti, Handel
and many others all met one another or werethoroughly conversant with one another's
music
Bach owned and/or copied the music of many
of his contemporary composers, often re-
writing them for different instruments. Indeed
this was a recognized method of study widely
practiced in baroque times.
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Many instruments reached the peak of their
development at the height of the baroque era
the violins and other stringed instruments ofthe baroque Italian masters are the prized
possessions of today's professional string
players.
The baroque age favored the harpsichord, in
which the strings are plucked and the player
cannot vary the tone through finger touch.
INSTRUMENTS
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Interestingly however it was the organ builder
Gottfried Silbermann, working with Bach, who
contributed substantially to the development
of the piano.
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"A compositionmeetsthe demandsofgood
tasteifitis wellconstructed, avoidstrivialities
as wellas willfuleccentricities, aimsatthesublime, butmovesinanaturalordered way,
combiningbrilliantideas withperfect
workmanship.- WordsofbaroquecomposerandtheoristJohann Joseph Fux
Music which is melodious yet so constructed
as to reflect the "perfect order" ofthe
universe: that is the essence ofthe baroque. NE
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Arcangelo Corelli
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Antonio Vivaldi
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BAROQUE VIOLIN
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STRING
FAMILY
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HAPSICHORD BACK
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SILBERMANN ORGANBACK
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George Frideric HandelBACK
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Johann Sebastian BachBACK
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Fugue and counterpiont
Sonata and concerto
German
influence
Italian
influence
BAROQUE
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Johann Josef Fux
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EARLY PHASE (1600-1640)
Favored homophonic texture over the polyhonic
texture typical of the Renaissance Music.
Words could be projected smoothly by using only
one melody with chordal accompaniment.
Used dissonances with freedom
Contrast of sound were stressed, one or more solosinger were against a chorus or voices against
instruments.
THREE PHASES OF BAROQUE ERA
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MIDDLE PHASE (1640 1680)
New musical style spread to Italy.The church modes gave way to Major
and Minor Scales.
By 1680, major and minor scalesbecome the basis of most composition.
New importance of instrumental music
Many compositions were written for
specific instruments; the violin family
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LATE PHASE (1680-1750)
Yield most of the Baroque Music heard today. Emphasis of the Dominant Chords attraction to
the tonic arose in this period
Intrumental music became as important as vocal
music for the first time.
Late baroque composers glorifies polyphony
BAROQUEwill pertain to the LATEBAROQUEPHASE
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Scarlatti Velasco
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Characteristics of Baroque Music
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Unity of Mood
Terraced
Dynamics
Chords and Basso
Continuo
Melody
Texture
Rhythm
Words and
Music
Baroque
OrchestraBaroque Forms
Baroque Opera
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UNITY OF MOOD
One basic mood what begins joyfully will
remain joyfully all throughout.
Joy, grief and agitation were represented (atthis times they were called affections)
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RHYTHM
Continuity of rhythm
Beat is emphasize
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MELODY
Opening melody will be heard again and again allthroughout the piece
Continuous expanding, unfolding and unwinding
of melody Repetition at higher or lower pitches.
Elaborate and ornamental and not easy to sing
Dynamic expansion rather than balance andsymmetry
Short opening phrase is often followed by longerphrase with an unbroken flow of rapid notes
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TERRACED DYNAMICS
Volume is constant at a time
Sudden shift of dynamics is called terraced
dynamics
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TEXTURE
Predominantly polyphonic in texture
Imitation of various lines
A piece might shift in texture especially invocal music, were the changes of mood in the
words demand musical contrast.
Depending on the baroque composers; Bach
polyphonic, Handel contrast between
polyphonic and homophonic
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CHORDS AND THE BASSO CONTINUO
Chords become increasingly important in the
period
Bass part together with numbers which
specify the chords to be played above it
Played by at least two instruments: organ of
harpsichord
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BAROQUE ORCHESTRA
Evolved from string family. Small orchestra 10 to 30 or 40 players
Basso continuo is the nucleus and upper strings
Trumpets and Timpani only joins the orchestra
during festive. Baroque trumpet had no valves but was given
rapid, complex melodic lines to play in higherregister.
Trumpeter was the aristocrat of the Orchestra difficulty and royalty.
Composers love to experiment by combiningdifferent instruments.
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BAROQUE OPERA
Camerata small group of nobles, poets andcomposers around 1575; it includes VicenzoGalilei, father of the astronomer Galileo.
They wanted to create a new vocal style modeledon the music of the ancient greek tragedy.
they also want to follow the rhythm andfluctuation of speech recitative
Euridice Jocopo Peri; earliest opera to bepreserve; performed in 1600 in Florence. Composed for the wedding of King Henry IV of France
and Marie de Medici.
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7 years later, \Monteverdi composed Orpheus
first GREAT opera- for the court of Gonzaga family
in Mantua. Ceremonial occasions at court and was designed
to display magnificance and splendor.
Greek Mythology and Ancient History
Marked the rise ofvirtuososingers.
Castratomale singer who has been castrated
during Puberty.
combination of lung power and vocal range of awoman.
Agility, breath control, and unique sound intrigued
listeners
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Baroque audiences were more interested invocal virtuosity than dramatic realism
Secco Recitatives recitatives that isaccompanied by a basso continuo.
Accompanied Recitatives supported by
orchestra ABA form typical baroque aria form
Da Capo from the beginning
By combining virtuosity, nobility andextravagance, baroque opera perfectlyexpressed the spirit of a grand age.
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OPERA
Drama that is sung to a orchestralaccompaniment
Fusion of music, acting, poetry, dance, scenery,
and costumes. Performers who can sing and act simultaneously
Supers / extras additional effect to the play
Associated with high social status
Mainly for aristocratic entertainment
Libretto text of the opera librettist dramatist
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VOICE RANGE
Coloratura Soprano Very high scales; canexecute rapid scales and trills
Lyric Soprano rather light voice; sings rolescalling for grace and charm
Dramatic Soprano full, powerful voice; iscapable of passionate intensity
Lyric Tenor relatively light; bright voice
Dramatic Tenor powerful voice; capable of
heroic expression Basso Buffo takes comic roles; Can sing very
rapidly
Basso Profundo very low range; powerful voice;takes roles calling for great dignity.
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Aria song for solo voice with orchestralaccompaniment; outpouring of melody that
expresses an emotional state; one notestretched over many notes; main attractionfor many opera
Recitative a vocal line that imitates the
rhythms and fluctuations of speech; words aresung quickly and clearly often in repeatedtones; one note to syllable, monologues anddialogues
Duets, trios, quartets, quintets, sextets.
Ensemble 3 or more singers
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Chorus generates atmosphere and makescomment on the action; tonal background for
soloist Dance ornamental interlude
Orchestra pit sunken area in front of the stage;full symphony orchestra but smaller stringsection;
Prompter the person who gives cues andreminds the singers of words or pitches if theymomentarily forget. prompter box
Overture or prelude short musical statementthat involves the audience to overall dramaticmoods.
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PLOT
Orpheus, son of the God Apollo, is ecstaticallyhappy after his marriage to Eurydice. But his joyis shattered when his bride is killed by apoisonous snake. Orpheus goes down to Hadeshoping to bring her life back. Because of his
beautiful music, he is granted this privilege onthe condition that he not look back at Eurydicewhile leading her out of the underworld. During amoment of anxiety, however, Orpheus does look
back, and Eurydice vanishes. Nonetheless, thereis a happy ending, of sorts. Apollo pities Orpheus,and brings him up to heaven, where he can gazeeternally at Eurydices radiance in the sun andstars.
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PLOT
Dido, queen of Carthage; and Aeneas, king of thedefeated Trojans.
After the destruction of his native Troy, Aeneas hasbeen ordered by the Gods to seek a site for building anew city. He sets out on the search with twenty-one
ships. After landing at Carthage, a north Africanseaport, Aeneas falls in love with Dido. A sorceress andtwo witches see this an opportunity to plot Didos fall.A false messenger tells Aeneas that the gods commandhim to leave Carthage immediately to renew his
search. Aeneas agrees but is desolate at the thought ofdeserting Dido. Aeneas still sails away; while in theport, Dido called Aeneas a hypocrite and sing a noble,deeply tragic lament and kills herself. The operaconcludes with the mourning of the chorus
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CHORALE
Lutheran Church, Germany Or hymn tune sun in German Text
Easy to sing and remember, having one note to asyllable and moving in a steady rhythm
Tunes that has been composed in the sixteenthand seventeenth century or had been adaptedfrom folk songs and Catholic Hymns
The hymn melody was sung in the top part andsupported by three lower part.
Chorale Prelude played by the organist that is ashort composition based from the hymn that
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Cantor/music editor had to provide church
cantatas for Sunday and holiday
Bach -295 cantatas; 195 in still existence
Cantata no. 140 Bachs best cantata (parable
of the wise and foolish virgins Matt. 25)
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ORATORIO
Large-scale composition for chorus, vocal soloist,and orchestra
Narrative-text
No acting, scenery or costumes
Most oratorios are from biblical stories but theyare not intended for religious services
Longer than cantatas
First appeared in Italy in early 17th century
Musical dramatization of biblical stories andperformed in prayer halls called oratorios.
Messiah by Handel Most loved oratorioBACK
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CONCERTO GROSSO AND RITORNELLO
FORM
Concerto Grosso a small group of soloist is
pitted against a large group of players called
the tutti
2-4 soloist against 8 20 or more musicians
Tutti-consist mainly of string instruments and
a harpsichord which plays the basso continuo
Several movements that contrast in tempo
and character: 1. fast, 2. slow, 3. fast
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The Concerto Grosso form is built on the
principle of contrasting two differently sized
instrumental groups. The smaller groupconsists of two violins and a cello, and the
larger of a string orchestra. Dynamic markings
in all the music of this period were based onthe terrace principle; crescendo and
diminuendi are unknown, contrasts between
forte and piano and between the large and
small string groups constituting the dynamic
variety of the scores.
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The first and last movements of concerto grossiare often in ritornelloform.
Based on alteration between tutti and solosection
Ritornello or refrain
A typical concerto grosso movement might beoutlined as follows: 1. a. tutti fritornello in homekey b. solo 2. a. tutti fritornello fragment b. solo3. a. tutti fritornello fragment b. solo 4. tutti f
ritornello in home key In contrast to tutti ritornello, solo section offers
fresh melodic ideas, softer dynamics, rapid scales,and broken chords.
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THE BAROQUE SONATA
A composition in several movements for oneto eight instruments.
Trio sonatas three melodic lines, two high
ones and a basso continuo Played in homes, and even in churches; before
or after
Sonata da chiesa Church sonata; dignifiedcharacter and sacred performance
Sonata da camera chamber sonata; dance
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Instrumentation of the trio sonata, possibly
for commercial reasons, allowed some
freedom of choice. Nevertheless the mostfrequently found arrangement became that
for two violins and cello, with a harpsichord or
other chordal instrument to fill out theharmony. The trio sonata was the foundation
of the concerto grosso
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THE FUGUE
A cornerstone in baroque music Can be written for group of instruments or voices
or for a single instrument like the organ orharpsichord
It is a polyphonic composition based from onemelody called the subject.
Different melodic lines or voices imitate thesubject
3,4 or 5 voices
The subject takes new meanings when shifted todifferent keys or combined with different melodic
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The subject is represented in two different
scales, the first time, it is based on the tonic
notes, but when the second voice representthe subject it is in dominant scale five scale
step higher than the subject; it is then called
the answer. Countersubject the subject in one voice is
constantly accompanied by another voice by a
different melodic idea; a constant companion
sometimes it appears with the subject,
below it or above it.
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Episodesa transitional section; offers newmaterial or fragments of the subject or
countersubjects; do not present the subjectentirely; it also lends variety to the fugue andmake reappearances of the subject soundfresh.
Streeto a subject is imitated before it iscompleted; one voice tries to catch the other.
Pedalpoint/organpoint a single tone,
usually in the bass, is held while the othervoices produces a series of changingharmonies against it.
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Single mood and a sense of continuos flow.
Can be written in independent works or as a
single movements within a larger
composition.
Very often an independent fugue is introduce
by a short piece called prelude
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FOUR PRINCIPLES OF FUGUE
1. It can be turned upside down, a procedure
known as inversion. If the subject moves
upwardby leap, the inversion will move
downwardthe same distance; vice versa;each interval in the subject is reversed in
direction.
2. The subject may be presented retrograde,that is, by beginning with the last note of the
subject and proceeding backward to the first.
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3. The subject may be presented in
augmentation, in which the original time
values are lengthened.
4. The subject may appear in diminution, with
shortened time values
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THE BAROQUE SUITE
Dance inspired movements Solo, small groups or orchestra
Made up of movements that are written in thesame key but differ in tempo, meter and
character Allamande moderately paced (Germany)
Courante fast (France)
Gavotte moderate (France)
Sarabande slow and solemn (Spain) Gigue fast (England and Ireland)
Usually AABB form; tonic A dominant Abalanced by dominant B then ends in tonic B.
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BAROQUE COMPOSERS
Arcangelo Corelli
Henry Purcell
Antonio Vivaldi George Friedrich Handel
Johann Sebastian Bach
Francois Couperin
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Born in Fusignano, Italy, in1653
studied in Bologna, a
distinguished musical center "Founder of Modern Violin
Technique
"W
orld's First GreatViolinist
"Father of the ConcertoGrosso"
Arcangelo Corelli
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His contributions can be divided three ways,
as violinist, composer, and teacher
first person to organize the basic elements of
violin technique.
His music was performed and honored
throughout all Europe; in fact, his was themost popular instrumental music
compositional output was rather small.
Concerti Grossi Opus 6 that Corelli reached hiscreative peak and climaxed all his musical
contributions.
Although Corelli was not the inventor of the
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Although Corelli was not the inventor of theConcerto Grosso principle, it was he whoproved the potentialities of the form,popularized it, and wrote the first great musicfor it
Through his efforts, it achieved the same pre-
eminent place in the baroque period ofmusical history that the symphony did in theclassical period
Without Corelli's successful models, it would
have been impossible for Vivaldi, Handel, andBach to have given us their Concerto Grossomasterpieces.
Corelli's achievements as a teacher were again
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Corelli s achievements as a teacher were againoutstanding. Among his many students wereincluded not only Geminiani but the famed
Antonio Vivaldi. It was Vivaldi who becameCorelli's successor as a composer of the greatConcerti Grossi and who greatly influenced themusic of Bach.
occupied a leading position in the musical life ofRome for some thirty years, performing as aviolinist and directing performances often onoccasions of the greatest public importance. Hisstyle of composition was much imitated and
provided a model, both through a widedissemination of works published in his lifetimeand through the performance of these works inRome
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Corelli died a wealthy man on January 19,1713, at Rome in the 59th year of his life. But
long before his death, he had taken a place
among the immortal musicians of all time, and
he maintains that exalted position today.
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TRIO SONATA IN EMINOR, OP. 3 NO. 7 (1689)
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Born in 1659
finest and most originalcomposer of his day
As the son of a musicianat Court, a chorister atthe Chapel Royal, andthe holder of continuingroyal appointments until
his death, Purcellworked in Westminsterfor three different Kingsover twenty-five years.
Henry Purcell
d d h f hi l i i
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devoted much of his talent to writing operas, orrather musical dramas, and incidental stage
music; but he would also write chamber music inthe form of harpsichord suites and trio sonatas
There is hardly a department of music, as knownin his day, to which Purcell did not contribute
with true distinction. His anthems were longsince accorded their place in the great music ofthe church; there are enough fine orchestralmovements in his works for the theatre to
establish him in this field; his fantasies andsonatas entitle him to honor in the history ofchamber music; his keyboard works, if lesssignificant in themselves, hold their place in the
repertory; his one true opera.
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Dido and Aeneas, is an enduring masterpiece,
and his other dramatic works (sometimes
called operas) are full of musical riches. And,
most especially, Purcell's songs themselves
would be sufficient to insure his immortality.
His sensitivity to his texts has been matchedby few masters in musical history; when he
had worthy poetry to set, he could hardly fail
to produce a masterpiece.
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born in Venice on March4th, 1678.
Though ordained a priestin 1703, according to his
own account, within ayear of being ordainedVivaldi no longer wishedto celebrate mass becauseof physical complaints
("tightness of the chest")which pointed to anginapectoris, asthmaticbronchitis, or a nervousdisorder.
Antonio Vivaldi
Th t ti f b V i i l
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The reputation of baroque Venice as a musicalcentre was one of the highest in Europe, due
largely to its four conservatories of music Vivaldi was employed for most of his working
life by the Ospedale della Piet, generallyaccepted as being the best of the four
Ospedali, and many of his concerti wereindeed exercises which he would play with hismany talented pupils. The brilliance of somesolo writing in his "student exercise"concertos testifies to the extremely highstandard attained by "his" ladies.
Vi ldi' l ti hi ith th O d l b
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Vivaldi's relationship with the Ospedale beganright after his ordination in 1703, when he was
named as violin teacher there. Until 1709,Vivaldi's appointment was renewed every yearand again after 1711. Between 1709 and 1711Vivaldi was not attached to the Ospedale.
Perhaps in this period he was already working forthe Teatro Sant' Angelo, an opera theater. He alsoremained active as a composer - in 1711 twelveconcertos he had written were published in
Amsterdam by the music publisher EstienneRoger under the title l'Estro armonico (HarmonicInspiration).
Vivaldi also wrote works on commission from
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Vivaldi also wrote works on commission fromforeign rulers, such as the French king, Louis
XV - the serenade LaSena festeggiante(Festival on the Seine), for example. This workcannot be dated precisely, but it was certainlywritten after 1720.
In Rome Vivaldi found a patron in the personof Cardinal Pietro Ottoboni, a great musiclover, who earlier had been the patron ofArcangelo Corelli. And if we can believe Vivaldi
himself, the Pope asked him to come and playthe violin for him at a private audience.
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suffering a severe economic downturn, he
resigned from the Ospedale in 1740, planning
to move to Vienna under the patronage of his
admirer Charles VI. His stay in Vienna was to
be shortlived however, for he died on July
28th 1741 "of internal fire" (probably theasthmatic bronchitis from which he suffered
all his life) and, like Mozart fifty years later,
received a modest burial.
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