Baroque Music

J.S. Bachs Brandenburg Concerto No.
2 in F Major
Thursday, March 5, 2009

Today ...
Baroque Music
"Odd pearl or strained syllogism,

baroque music was to both Pluche and
Rousseau bizarre, extravagant, and
unnatural."
- Claude V. Palisca

Baroque Architecture
Baroque architecture, starting in the early 17th

century in Italy, expressed the triumph of absolutist
church and state. New architectural concerns for
color, light and shade, sculptural values and intensity
characterize the Baroque.

Mezquita de Cordoba - Cordoba, Spain
Roman Temple Visigothic Cathedral Muslim Mosque Baroque Cathedral

The site on which the Mezquita stands has long been a sacred space it was first host to a Roman temple,
then a Visigoth cathedral church of St Vincent of Saragossa, then a mosque (the Mezquita). Finally, a Baroque
cathedral was added inside the mosque by the Christian conquerors in the early 13th century. The
construction of the Mezquita lasted for over two centuries, starting in 784 AD under the supervision of the
emir of Cordoba, Abd ar-Rahman I. Under Abd ar-Rahman II (822-52), the Mezquita held an original copy of
the Koran and an arm bone of the prophet Mohammed, making it a major Muslim pilgrimage site. The
Mosque underwent numerous subsequent changes: Abd ar-Rahman III ordered a new minaret, while Al-
Hakam II, in 961, enlarged the plan of the building and enriched the mihrab. The last of the reforms,
including the completion of the outer naves and orange tree courtyard, were completed by Al-Mansur Ibn
Abi Aamir in 987. When finished, the Mezquita was the most magnificent of the more than 1,000 mosques
in Cordoba. But Cordoba was subject to frequent invasion and each conquering wave added their own
mark to the architecture. In 1236, Cordoba was recaptured from the Moors by King Ferdinand III of Castile
and rejoined Christendom. The Christians initially left the architecture Mezquita largely undisturbed they
simply consecrated it, dedicated it to the Virgin Mary, and used it as a place of Christian worship. King
Alfonso X oversaw the construction of the Villaviciosa Chapel and the Royal Chapel within the structure of
the mosque. The kings who followed added further Christian features: Enrique II rebuilt the chapel in the
14th century; a nave was constructed with the patronage of Carlos V, king of a united Spain. The heavy,
incongruous Baroque cathedral was sanctioned in the very heart of the mosque by Charles V in the 1520s.
Artists and architects continued to add to the existing structure until the late 18th century, making the
Mezquita an intriguing architectural oddity. In 1931, Dr. Allama Muhammad Iqbal was the first Muslim to
pray in the Mezquita since it was closed to Islam. In 1984, the historic center of Cordoba, including the
Mezquita, was made a UNESCO World Heritage site.

King Charles II (29 May 1630 6 February
1685)was the first monarch to rule England after
the English Restoration.

John Dryden (August 19, 1631 - May 12, 1700) was
an influential English poet, literary critic and playwright,
who dominated the literary life of Restoration England
to such a point that the period came to be known in
literary circles as the Age of Dryden.

From John Dryden's
A Song for St. Cecilia's Day (1687)
From harmony, from heavenly harmony

This universal frame began:
When Nature underneath a heap
Of jarring atoms lay,
And could not heave her head,
The tuneful voice was heard from high:
"Arise, ye more than dead."
Then, cold, and hot, and moist, and dry,
In order to their stations leap,
And Music's power obey.
From harmony, from heavenly harmony
This universal frame began:
From harmony to harmony
Through all the compass of the notes it ran,
[To culminate all harmony] in man.

What passion cannot Music raise and quell!
When [man first] struck the corded shell,
His listening brethren stood around,
And, wondering, on their faces fell
To worship that celestial sound.
Less than a god they thought there could not dwell
Within the hollow of that shell
That spoke so sweetly and so well.
What passion cannot Music raise and quell!
The trumpet's loud clangor

Excites us to arms,
With shrill notes of anger,
And mortal alarms.
The double double double beat
Of the thundering drum
Cries: "Hark! the foes come;
Charge, charge, 'tis too late to retreat."

The soft complaining flute
In dying notes discovers
The woes of hopeless lovers,
Whose dirge is whispered by the warbling lute.
Sharp violins proclaim

Their jealous pangs, and desperation,
Fury, frantic indignation,
Depth of pains, and height of passion,
For the fair, disdainful dame.
But O! what art can teach,

What human voice can reach,
The sacred organ's praise?
Notes inspiring holy love,
Notes that wing their heavenly ways
To mend the choirs above.

Orpheus could lead the savage race;
And trees unrooted left their place,
[When he would play] the lyre;
But bright Cecilia raised the wonder higher:
When to her [voice her saintly] breath was given,
An angel heard, and straight appeared,
Mistaking earth for heaven.
John Dryden's
A Song for St. Cecilia's Day (1687)

The Home of Baroque Music

The era of Baroque music was an age of
spectacular progress of knowledge. It was the age
of the scientific discoveries of Galileo and
Newton, the mathematical advances of Descartes,
Newton and Leibnitz, and the philosophical
explorations of Descartes, Spinoza and Locke.
There was a new and vibrant intellectual, artistic
and social atmosphere, which in so many ways
signaled the birth of modern Europe.

Doctrine of the Affections
The Doctrine of the affections ... was a musical theory popular
in the Baroque era (1600-1750). It is a theory of musical
aesthetics, widely accepted by late Baroque theorists and
composers, that embraced the proposition that music is
capable of arousing a variety of specific emotions within the
listener. At the centre of the doctrine was the belief that, by
making use of the proper standard musical procedure or
device, the composer could create a piece of music capable of
producing a particular involuntary emotional response in his
audience. ... Mattheson is especially comprehensive in his treatment of the
affections in music. In Der vollkommene Capellmeister (1739; The Perfect
Chapelmaster), he notes that joy is elicited by large intervals, sadness by small
intervals; fury may be aroused by a roughness of harmony coupled with a rapid
melody; obstinacy is evoked by the contrapuntal combination of highly
independent (obstinate) melodies. Carl Philipp Emanuel Bach (17141788) and
the Mannheim school were exponents of the doctrine.
There is no one writer credited for creating the doctrine of affections, but it has
its roots in the ancient Greek doctrine of ethos, which stated that music had the
power to alter moods, and Ren Descartes' treatise "The Passions of the Soul,"
which stated that emotions could be controlled.
Known as a (perhaps, the) transition composer from the Renaissance to the Baroque period,
Claudio Monteverdi (May 15, 1567 (baptised) November 29, 1643) produced works
that can be classified in both periods, and he was one of the most significant revolutionaries
that brought about the change in style. Monteverdi wrote the earliest dramatically viable
opera, Orfeo, and was fortunate enough to enjoy fame during his lifetime.
It is arguable that Monteverdi's greatest work remains the Vespro della Beata Vergine
1610 (The Vespers of the Blessed Virgin, 1610).This is one of his few sacred
works of any scale, but it remains to this day one of the greatest examples of devotional
music, matched only by works such as Palestrina's Missa Papae Marcelli, Handel's Messiah,
and J. S. Bach's St. Matthew Passion. The scope of the work as a whole is breathtaking - each
part (there are twenty-five in total) is fully developed in both a musical and dramatic sense -
the instrumental textures are used to precise dramatic and emotional effect, in a way that
had not been seen before.
The Vespers of 1610 are also one of the best examples of early repetition and contrast, with
many of the parts having a clear ritornello. This was something entirely new to the public of
the time, and was an immediate hit.

BAROQUE MUSIC - European art music written between
approximately 1600 and 1750.

Baroque music characteristic language style
Baroque music has form ritornello
Baroque music created with human voice
Baroque music created with Baroque instrument(s)
Baroque music has subdiscipline musical theory
Baroque music has subdiscipline composition
Baroque music has subdiscipline performance
Baroque music has subdiscipline performance practice
Baroque music has element Baroque rhythm
Baroque music has element Baroque melody
Baroque music has element Baroque harmony
Baroque music has element Baroque timbre
Baroque music has element Baroque instrument(s)
Baroque music has element Baroque meter
Baroque music has element Baroque tempo
Baroque music has element Baroque dynamics
Baroque music has genre chant
Baroque music has genre madrigal
Baroque music has genre Concerto grosso
Baroque music has genre song
Baroque music has genre suite
Baroque music has texture monophony
Baroque music has texture homophony
Baroque music has texture polyphony
Baroque music has associated body movement dance
Baroque music has period Baroque Period
Baroque music has composer Johann Sebastian Bach
Baroque music has composer George Frideric Handel
Baroque music has composer Antonio Vivaldi
Baroque music has composer William Byrd
Baroque music has composer Henry Purcell
Baroque music has composer Georg Phillip Telemann
George Frideric Handel
GEORGE FRIDERIC HANDEL (1685-1759) - Handel

was a German late-Baroque composer who made his
fortune in England composing what amounted to
Italian unstaged operas, know as oratorios.
George Frideric Handel
George Frideric Handel wrote Italian Opera.

George Frideric Handel born in Germany
George Frideric Handel lived in England
George Frideric Handel has dates 1685-1759
George Frideric Handel important composer of Baroque Period
George Frideric Handel composer of Baroque music
George Frideric Handel composer of instrumental suite

Antonio Vivaldi
ANTONIO VIVALDI (1680-1743) - Italian composer of

THE FOUR SEASONS (1725) who standardized the three-
movement concerto grosso and influenced J. S. Bach.
Antonio Vivaldi
Antonio Vivaldi standardized 3-movement Concerto grosso

Antonio Vivaldi composed The Four Seasons
Antonio Vivaldi has dates 1680-1743
Antonio Vivaldi important composer of Baroque Period
Antonio Vivaldi composer of Baroque music

William Byrd
WILLIAM BYRD (1543-1623) - English Baroque composer of the

Elizabethan age and is among the three or four English composers
since the Renaissance who have stood unequivocally as equals with
their continental contemporaries.
William Byrd
William Byrd composed during English Baroque

William Byrd has dates 1543-1623
William Byrd important composer of Baroque Period
William Byrd composer of Baroque music

Henry Purcell
HENRY PURCELL (1659-1695) - Perhaps the outstanding

composer of the English Baroque, Purcell wrote dramatic
music, sacred and secular vocal music, and instrumental music.
He is perhaps best remembered for his opera, Dido and Aeneas.
Henry Purcell
Henry Purcell wrote Dido and Aeneas

Henry Purcell composer during English Baroque
Henry Purcell has dates 1659-1695
Henry Purcell important composer of Baroque Period
Henry Purcell composer of Baroque music

Georg Phillip Telemann
GEORG PHILLIP TELEMANN (1681-1767) - Telemann was

one of the most prolific composers ever. He worked in
Leipzig, Eisenach, Frankfurt, and Hamburg producing forty
operas and twelve complete cycles of cantatas and motets
(almost 3000 pieces altogether!)
Georg Phillip Telemann
Georg Phillip Telemann produced 40 operas

Georg Phillip Telemann produced 12 cycles of cantatas & motets
Georg Phillip Telemann composed circa 3,000 compositions
Georg Phillip Telemann has dates 1681-1767
Georg Phillip Telemann important composer of Baroque Period
Georg Phillip Telemann composer of Baroque music

Johann Sebastian Bach
JOHANN SEBASTIAN BACH (1685-1750) - Bach was the most

influential composer of the Baroque period, so influential in fact
that the period from 1685 to 1750 is now referred to generally
as the Baroque period in Western music history.

Johann Sebastian Bach father Johann Ambrosius Bach
Johann Sebastian Bach was composer
Johann Sebastian Bach born in Eisenach, Thuringia
Johann Sebastian Bach composed concerti grossi
Johann Sebastian Bach composed concerti
Johann Sebastian Bach composed sonatas
Johann Sebastian Bach composed partitas
Johann Sebastian Bach composed passions
Johann Sebastian Bach has dates 1685-1750
Johann Sebastian Bach important composer of Baroque Period
Johann Sebastian Bach performer of organ
Johann Sebastian Bach performer of harpsichord
Johann Sebastian Bach performer of violin
Johann Sebastian Bach performer of viola
Johann Sebastian Bach composer of Baroque music
Johann Sebastian Bach composer of instrumental suite
From the Modal music of
the Renaissance to the
Tonal music of the Baroque
-- How did we get there?

J. S. Bach
Well Tempered Clavier, Book 1, Number 1 in C major
Prelude and Fugue
from Siglind Bruhn
J.S. Bach's Well-Tempered Clavier
In-depth Analysis and Interpretation

The Design of the Prelude
The sections of this prelude are clearly discernible by their simple cadential patterns. The first cadential closure is in bar 4, the steps leading to it being:
bar 1 = I, bar 2 = ii2, bar 3 = V65, bar 4 = I. As all structural breaks in this prelude are harmonically defined, this cadence must be interpreted as the end of a
first (short) section.
The next harmonic progression concludes in bar 11. As the F# accidentals from bar 6 onward clearly demonstrate, Bach modulates to Gmajor. The final steps
of this cadence are:
bar 9 = ii7 of G, bar 10 = V7 of G, bar 11 = I of G.
For the reasons mentioned above, this harmonic close must also be regarded as a structural caesura. There are altogether four structural sections in this
prelude:
I
bars 1-4
full cadence in C major
II
bars 5-11
modulation to G major
III
bars 12-19
modulation back to C major
IV
bars 20-35
complex, extended cadence in C major
While no portion ever recurs either note for note or in variation there is a transposed passage which, in fact, forms part of an analogy. Bars 15-19 are an
exact transposition of bars 7-11: see the progression I6 , IV2, ii7, V7, I in bars 7- 11 in G major, in bars 15-19 in C major. In connection with this transposition
we also find: Bars 7-8 are composed as a sequence of bars 5/6, and bars 14-15 are conceived as a sequence of bars 12/13.
In both cases, a two-bar model appears repeated one diatonic step lower. The only structural difference between these two patterns lies in the different amount
of overlapping with the transposed portion. We can thus confirm the following analogy: section II (bars 5-11) corresponds with section III (bars 12-19):both
consist of a 2-bar model + descending sequence + analogous cadence-ending.

Organization of Well-Tempered Clavier

Bachs Prelude Endures

-David Ledbetter
Indeed, these 96 works are Bachs proof-of-concept that

this system (well-temperament, not equal temperament)
does work and is effective in the creation of music. It is
ironic today to hear them in equal temperament and to
realize that they are equally effective in a system of tuning
for which they were not meant. This work alone sets the
stage for composers to explore the related equal
tempered system of tones for the next 300 years. -JDL

The Well-Tempered Klavier
J. S. Bach
Angela Hewitt, Piano
The Well-Tempered Clavier, book II:

Prelude and Fugue No. 14 in F# Minor

How Did J. S. Bachs Music Sound in 1722?

Glory to God Alone:
The Life of J. S. Bach

Giovanni Gabrieli (1555-1612):
Sonata XIX, from Canzoni e Sonate

Johann Sebastian Bach (1685-1750)
Brandenburg Concerto No. 2 In F Major (Movement 1)
The concerto grosso (plural concerti grossi) (Italian for big concert) was a popular form of baroque music using
an ensemble and usually having four to six movements in which the musical material is passed between a small
group of soloists (the concertino) and full orchestra (the ripieno).
The form was probably developed around 1680 by Alessandro Stradella, who seems to have written the first
music in which a "concertino" and "ripieno" are combined in the characteristic way, though he did not use the term
"concerto grosso". The first major composer of named concerti grossi was Stradella's friend Arcangelo Corelli.
After Corelli's death, a collection of twelve such pieces he composed was published (presumably, the movements
were selected individually from a larger oeuvre) and soon spread across Europe, finding many admirers and
imitators. Composers such as Francesco Geminiani and Giuseppe Torelli wrote concerti in the style of Corelli, and
he also had a strong influence on Antonio Vivaldi.
In Corelli's day, two distinct forms of the concerto grosso were distinguished: the concerto da chiesa (church
concert) and the concerto da camera (chamber concert). The former was more formal and generally just
alternated largo or adagio (slow) movements with allegro (fast) movements, whereas the latter had more the
character of a suite, being introduced by a preludio and incorporating many dance forms popular in the day. These
distinctions later became blurred.
The most famous concerto by Corelli is arguably No. 8 in G minor, the so-called Christmas Concerto, which ends
with a furious allegro and then has an optional pastoral tacked on which should, in theory, only be played on
Christmas Eve and must, in practice, often be played twice even when it isn't, due to its great popularity.
Corelli's concertino consisted of two violins and a cello, with a string orchestra serving as ripieno, both
accompanied by a basso continuo. The latter was believed to be often realized on the organ in Corelli's day,
especially in the case of the concerti da chiesa, but in modern recordings harpsichord realizations are almost
exclusive.
Other major composers of concerti grossi were Georg Friedrich Hndel, who expanded the ripieno to include wind
instruments. Several of the Brandenburg Concerti of Johann Sebastian Bach also loosely follow the concerto
grosso form, notably the 2nd Concerto, which has a concertino of recorder, oboe, trumpet, and solo violin.
--www.wikipedia.com
Johann Sebastian Bach (1685-1750)
Brandenburg Concerto No. 2 In F Major (Movement 1)

Antonio Vivaldi (1680-1743)
The Four Seasons - Autumn Concerto - Movement 1
One of the most popular Baroque instrumental works,

Vivaldi's Four Seasons is fundamentally a concerto grosso
for solo violin. It is also an example of program music, that
is, music that tells a story, often with the mimicking of
everyday sounds. This excerpt (the first movement of the
Autumn concerto) tells the story of an autumn harvest festival.
The fast passage work in the violin and orchestra, representing
the celebratory atmosphere of an autumn harvest festival, gives
way to the ingesting of spirits, which yields to an atmosphere of
slumber; then, a wakeful and lively mood finishes the
celebration.

Antonio Vivaldi (1680-1743)
The Four Seasons - Movement 1

J.S. Bach and the Baroque Cantata
Bach's magnificent cantatas can find their origins in the earlier
motets from the 1650s. "Cantata", literally, "a piece to be
sung", was used in the 17th century to mean a variety of vocal
compositions, the common feature being the inclusion of at
least one piece for solo voice. Bach fused two types of
cantatas -- the solo cantata with recitatives and arias and the
chorale cantata with two or more movements based on
chorale text -- to develop a new prototype for the church
cantata. Bach's tremendous musical achievement occupied
much of his time during his years at Leipzig where he held his
final position as municipal Kapellmeister.
J.S. Bach, Cantata No. 78 (1st, 2nd)

J.S. Bach Cantata No. 78

Baroque Musical Instruments
Instrument Type
Violin Chordophone
Viola Chordophone
Strings
Cello Chordophone
Doublebass Chordophone
Flute Aerophone
Oboe Aerophone
Woodwinds Clarinet Aerophone
Bassoon Aerophone
Recorder Aerophone
Trumpet Aerophone
Brass Horn (French) Aerophone
Sackbut Aerophone
Harpsichord Chordophone
Keyboard Spinet Chordophone
Organ Aerophone

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J.S. Bachs Brandenburg Concerto No.

Thursday, March 5, 2009

"Odd pearl or strained syllogism,

Thursday, March 5, 2009

Baroque architecture, starting in the early 17th

Thursday, March 5, 2009

Roman Temple Visigothic Cathedral Muslim Mosque Baroque Cathedral

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

From harmony, from heavenly harmony

Thursday, March 5, 2009

The trumpet's loud clangor

Thursday, March 5, 2009

Sharp violins proclaim

But O! what art can teach,

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

GEORGE FRIDERIC HANDEL (1685-1759) - Handel

George Frideric Handel wrote Italian Opera.

Thursday, March 5, 2009

ANTONIO VIVALDI (1680-1743) - Italian composer of

Antonio Vivaldi standardized 3-movement Concerto grosso

Thursday, March 5, 2009

WILLIAM BYRD (1543-1623) - English Baroque composer of the

William Byrd composed during English Baroque

Thursday, March 5, 2009

HENRY PURCELL (1659-1695) - Perhaps the outstanding

Henry Purcell wrote Dido and Aeneas

Thursday, March 5, 2009

GEORG PHILLIP TELEMANN (1681-1767) - Telemann was

Georg Phillip Telemann produced 40 operas

Thursday, March 5, 2009

JOHANN SEBASTIAN BACH (1685-1750) - Bach was the most

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Indeed, these 96 works are Bachs proof-of-concept that

Thursday, March 5, 2009

Angela Hewitt, Piano

The Well-Tempered Clavier, book II:

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

Thursday, March 5, 2009

One of the most popular Baroque instrumental works,

Thursday, March 5, 2009

Thursday, March 5, 2009

J.S. Bach, Cantata No. 78 (1st, 2nd)

Thursday, March 5, 2009