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German church music of the Baroque era
Notes from Steinitz:
- Lutheranism had been firmly established in north and central Germany, and the Lutheran faith held music to be an absolutely essential part of worship (despite the growth of Calvinism and Pietism, both of which opposed elaborate church music); Lutheran music was by tradition elaborate and from the early seventeenth century involved instruments as well as voices.
- People turned more and more for solace to religion and its music, a fact that offset a temporary reduction in the elaboration of music through economies demanded by wars (Thirty Years' War)
- Towards the end of the seventeenth century, court establishments tended to increase in size and number in emulation of Louis XIV's court at Versailles
[edit] The Kapellmeister
(Begin outline from Steinitz)
[edit] The north German (Protestant) Mass
[edit] A cappella masses
[edit] Lied masses
[edit] The masses of J. S. Bach
[edit] The south German (Catholic) Mass
[edit] Requiem masses
[edit] Schütz
[edit] Requiem masses of Austrian composers
[edit] Settings of the Magnificat
[edit] Other smaller forms
[edit] Oratorios
[edit] The earliest German oratorios
[edit] Dramatic dialogues
[edit] Later German oratorios
[edit] Passion music
[edit] Motet passions and dramatic passions
[edit] Oratorio passions in the seventeenth century
[edit] Passion oratorios: the librettos
[edit] Oratorio passions in the eighteenth century
[edit] The passions of J. S. Bach
[edit] Passion oratorios
[edit] Motets
[edit] The traditional motet:Schütz
[edit] The motets of Hammerschmidt, Selle, and others
[edit] Motets by early members of the Bach Family
[edit] Chorale settings in motet form
[edit] Later motets
[edit] The motets of J. S. Bach
[edit] Sacred concertatos
[edit] Chorale concertatos and variations
[edit] Scheidt and Kindermann
[edit] Schütz
[edit] Other composers of seventeenth century chorale concertatos
[edit] Buxtehude
[edit] Free concertatos
[edit] Scheidt and Kindermann
[edit] Schütz: Kleine Geistliche Konzerte
[edit] Schütz: Symphoniae Sacrae
[edit] The Schütz tradition
[edit] Composers outside the Schütz tradition
[edit] From concertato to cantata
[edit] The concertato in south Germany and Austria
[edit] Cantatas
[edit] Zachow
[edit] The cantatas of J. S. Bach
[edit] Bach's chorale cantatas
[edit] Bach's cantatas with intermittent chorales
[edit] Bach's cantatas including chorale fantasias
[edit] Bach's cantatas including motet-like choruses
[edit] Bach's free cantatas
[edit] Bach's solo cantatas
[edit] Bach's secular cantatas
[edit] Bach's cantatas: orchestration and textures
[edit] Graupner, Telemann, and others
(End outline from Steinitz)
[edit] Text from Baroque music article
Started in Sandbox with text from Baroque music article
Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750.[1] This era is said to begin in music after the Renaissance and was followed by the Classical music era. The original meaning of "baroque" is "irregular pearl", a strikingly fitting characterization of the architecture of this period; later, the name came to be applied also to its music. Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. It is associated with composers such as Claudio Monteverdi, Antonio Vivaldi, George Frideric Handel, and Johann Sebastian Bach. The baroque period saw the development of diatonic tonality. During the period composers and performers used more elaborate musical ornamentation; made changes in musical notation, and developed new instrumental playing techniques. Baroque music expanded the size, range and complexity of instrumental performance, and also established opera as a musical genre. Many musical terms and concepts from this era are still in use today.
[edit] History of the Name
Music conventionally described as Baroque encompasses a wide range of styles from a wide geographic region, mostly in Europe, composed during a period of approximately 150 years. The application of the term "baroque", which literally means "pearl of irregular shape", to this period is a relatively recent development, first used by Curt Sachs in 1919, and only acquiring currency in English in the 1940s. Indeed, as late as 1960 there was still considerable dispute in academic circles whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti and J.S. Bach with a single term; yet the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish it from both the preceding (Renaissance) and following (Classical) periods of musical history. A small number of musicologists argue that it should be split into Baroque and Mannerist periods to conform to the divisions that are sometimes applied in the visual arts.
[edit] Early baroque music (1600–1654)
The conventional dividing line for the Baroque from the Renaissance begins in Italy, with the Florentine Camerata, a group of academics who met informally in Florence in the palace of Count Giovanni de' Bardi to discuss arts, as well as the sciences. Concerning music, their ideals were based on their perception of ancient Greek musical drama, in which the declamation of the text was of utmost importance. As such, they rejected the complex polyphony of the late renaissance and desired a form of musical drama which consisted primarily of a simple solo melody, with a basic accompaniment. The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera.
Musically, the adoption of the figured bass represents a larger change in musical thinking—namely that harmony, that is "taking all of the parts together" was as important as the linear part of polyphony. Increasingly, polyphony and harmony were seen as two sides of the same idea, with harmonic progressions entering the notion of composing, as well as the use of the tritone as a dissonance. Harmonic thinking had existed among particular composers in the previous era, notably Carlo Gesualdo; however the Renaissance is felt to give way to the Baroque at the point where it becomes the common vocabulary. Some historians of music point to the introduction of the seventh chord without preparation as being the key break with the past. This created the idea that chords, rather than notes, created the sense of closure, which is one of the fundamental ideas of what came to be known as tonality.
Italy formed one of the cornerstones of the new style, as the papacy—besieged by Reformation but with coffers fattened by the immense revenues flowing in from Hapsburg conquest—searched for artistic means to promote faith in the Roman Catholic Church. One of the most important musical centers was Venice, which had both secular and sacred patronage available.
Giovanni Gabrieli became one of the important transitional figures to come out of the drive to revive Catholicism against the growing doctrinal, artistic and social challenge mounted by Protestantism. His work is largely considered to be in the "High Renaissance" style. However, his innovations came to be considered foundational to the new style. Among these are instrumentation (labeling instruments specifically for specific tasks) and the use of dynamics.
The demands of religion were also to make the text of sacred works clearer, and hence there was pressure to move away from the densely layered polyphony of the Renaissance, to lines which put the words front and center, or had a more limited range of imitation. This created the demand for a more intricate weaving of the vocal line against backdrop, or homophony.
This musical language proved to be international, as Heinrich Schütz, a German composer who studied in Venice under both Gabrieli and later Monteverdi, used it to the liturgical needs of the Elector of Saxony and served as the choir master in Dresden.
[edit] Middle baroque music (1654–1707)
The rise of the centralized court is one of the economic and political features of what is often labeled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts which he fostered, became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music. This included the availability of keyboard instruments.
The middle Baroque is separated from the early Baroque by the coming of systematic thinking to the new style and a gradual institutionalization of the forms and norms, particularly in opera. As with literature, the printing press and trade created an expanded international audience for works and greater cross-pollenation between national centers of musical activity.
The middle Baroque, in music theory, is identified by the increasingly harmonic focus of musical practice and the creation of formal systems of teaching. Music was an art, and it came to be seen as one that should be taught in an orderly manner. This culminated in the later work of Fux in systematizing counterpoint.
In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was an organist and entrepreneurial presenter of music. Rather than publishing, he relied on performance for his income, and rather than royal patronage, he shuttled between vocal settings for sacred music, and organ music that he performed. His output is not as fabulous or diverse, because he was not constantly being called upon for music to meet an occasion. Buxtehude's employment of contrast was between the free, often improvisatory sections, and more strict sections worked out contrapuntally. This procedure would be highly influential on later composers such as Bach, who took the contrast between free and strict to greater limits.
[edit] Late baroque music (1680–1750)
The dividing line between middle and late Baroque is a matter of some debate. Dates for the beginning of "late" baroque style range from 1680 to 1720. In no small part this is because there was not one synchronized transition; different national styles experienced changes at different rates and at different times. Italy is generally regarded as the first country to move to the late baroque style. The important dividing line in most histories of baroque music is the full absorption of tonality as a structuring principle of music. This was particularly evident in the wake of theoretical work by Jean-Philippe Rameau, who replaced Lully as the important French opera composer. At the same time, through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of counterpoint. The combination of modal counterpoint with tonal logic of cadences created the sense that there were two styles of composition—the homophonic dominated by vertical considerations and the polyphonic dominated by imitation and contrapuntal considerations.
The forms which had begun to be established in the previous era flourished and were given wider range of diversity; concerto, suite, sonata, concerto grosso, oratorio, opera and ballet all saw a proliferation of national styles and structures. The overall form of pieces was generally simple, with repeated binary forms (AABB), simple three part forms (ABC), and rondeau forms being common. These schematics in turn influenced later composers.
Antonio Vivaldi is a figure who was forgotten in concert music making for much of the 19th century, only to be revived in the 20th century. Born in Venice in 1678, he began as an ordained priest of the Catholic church but ceased to say Mass by 1703. Around the same time he was appointed maestro di violino at a Venetian girls' orphanage with which he had a professional relationship until nearly the end of his life. Vivaldi's reputation came not from having an orchestra or court appointment, but from his published works, including trio sonatas, violin sonatas and concerti. They were published in Amsterdam and circulated widely through Europe. It is in these instrumental genres of baroque sonata and baroque concerto, which were still evolving, that Vivaldi's most important contributions were made. He settled on certain patterns, such as a fast-slow-fast three-movement plan for works, and the use of ritornello in the fast movements, and explored the possibilities in hundreds of works—550 concerti alone. He also used programatic titles for works, such as his famous "The Four Seasons". Vivaldi's career reflects a growing possibility for a composer to be able to support himself by his publications, tour to promote his own works, and have an independent existence.
But perhaps the most famous composer to be associated with royal patronage was George Frideric Handel, who was born in Germany, studied for three years in Italy, and went to London in 1711, which was his base of operations for a long and profitable career that included independently produced operas and commissions for nobility. He was constantly searching for successful commercial formulas, in opera, and then in oratorios in English. A continuous worker, Handel borrowed from others and often recycled his own material. He was also known for reworking pieces such as the famous Messiah, which premiered in 1741, for available singers and musicians. Even as his economic circumstances rose and fell with his productions, his reputation, based on published keyboard works, ceremonial music, constant stagings of operas and oratorios and concerti grossi, grew exponentially. By the time of his death, he was regarded as the leading composer in Europe and was studied by later classical-era musicians. Handel, because of his very public ambitions, rested a great deal of his output on melodic resource combined with a rich performance tradition of improvisation and counterpoint. The practice of ornamentation in the Baroque style was at a very high level of development under his direction. He travelled all over Europe to engage singers and learn the music of other composers, and thus he had among the widest acquaintance of other styles of any composer.
Johann Sebastian Bach has, over time, come to be seen as the towering figure of Baroque music, with what Bela Bartok described as "a religion" surrounding him. During the baroque period, he was better known as a teacher, administrator and performer than composer, being less famous than either Handel or Georg Philipp Telemann. Born in Eisenach in 1685 to a musical family, he received an extensive early education and was considered to have an excellent boy soprano voice. He held a variety of posts as an organist, rapidly gaining in fame for his virtuosity and ability. In 1723 he settled at the post which he was associated with for virtually the rest of his life: cantor and director of music for Leipzig. His varied experience meant that he became the leader of music, both secular and sacred, for the town, teacher of its musicians and leading figure. Bach's musical innovations plumbed the depths and the outer limits of the Baroque homophonic and polyphonic forms. He was a virtual catalog of every contrapuntal device possible and every acceptable means of creating webs of harmony with the chorale. As a result, his works in the form of the fugue coupled with preludes and toccatas for organ, and the baroque concerto forms, have become fundamental in both performance and theoretical technique. Virtually every instrument and ensemble of the age—except for the theatre genres—is represented copiously in his output. Bach's teachings became prominent in the classical and romantic eras as composers rediscovered the harmonic and melodic subtleties of his works.
Georg Philipp Telemann was the most famous instrumental composer of his time, and massively prolific—even by the standards of an age where composers had to produce large volumes of music. His two most important positions—director of music in Frankfurt in 1712 and in 1721 director of music of the Johanneum in Hamburg—required him to compose vocal and instrumental music for secular and sacred contexts. He composed two complete cantata cycles for Sunday services, as well as sacred oratorios. Telemann also founded a periodical that published new music, much of it by Telemann. This dissemination of music made him a composer with an international audience, as evidenced by his successful trip to Paris in 1731. Some of his finest works were in the 1750s and 1760s, when the Baroque style was being replaced by simpler styles but were popular at the time and afterwards. Among these late works are "Der Tod Jesu" ("The death of Jesus") 1755, "Die Donner-Ode" ("The Ode of Thunder") 1756, "Die Auferstehung und Himmelfahrt Jesu" ("The Resurrection and Ascension of Jesus") 1760 and "Der Tag des Gerichts" ("The Day of Judgement") 1762
[edit] References
[edit] Notes
- ^ Palisca, Grove online
[edit] Sources
- Steinitz, Paul (1975). "German Church Music", in Anthony Lewis and Nigel Fortune: The New Oxford History of Music: V. Opera and Church Music 1630-1750. New York: Oxford University Press.
