Scribd
Upload
13 views22 pages

Chapter 11 Reading

chapter 11 music literature

Uploaded by

Nick Macapaz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
13 views22 pages

Chapter 11 Reading

chapter 11 music literature

Uploaded by

Nick Macapaz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 22
— INSTRUMENTAL Music. IN THE LATE Barogug Prriop instrumental music had come into i its own, decisions about what in- ind of piece to write challenged < During the second half of the geenteenth century, the possibilities offer red by the modern organs, by the -manual harpsichord (an instrument with two keyboards aro different ses) and particularly by the violin family inspired new idiome, i and formal structures. A sixth in: 'strumental category, the concerto, vas added to the five outlined in Chapt. ters 7 and 9. But, because of the “few importance to composers of the sound and idiom of instruments, it is more appropriate to organize this chapter around the two main types of instrumentation used: solo keyboard music, which is divided between Mu- sic for Organ and Music for Harpsichord and Clavichord; and Ensemble _ Music, which includes chamber and orchestral music for a variety of in- _tumental combinations, all employing the ever-present keyboard as a ipporting, or continuo, instrument. The principal categories of composition associated with each of the major instrumental groups are: For Keyboard: toccata (or prelude, fantasia) and fugue; arrangements of utheran chorales or other liturgical material (chorale prelude, chorale ita, etc,); Variations; passacaglia and chaconne; suite; and sonata (after 1700). These ty 'ypes of pieces, taken together, account for all five categories eC earlier, wm 228 II iwsreun ROQUE PERIOD sic IN THE LATE BA ENTAL MUSIC ata (sonata da chiesa), sinfonia, and Telateg bar me and ele genres aid COME, They My f two of the earlier categories (dance ang ang sonata), although elements of the olher three (enProvisalay, conta ‘and variation) were often incor an / sixth Category ‘ont | c gs exclusively to this grot ete keyboard instruments, the goasls Baroque organ ig 5 iar to us from the many copies of early-eighteenth-century instrumye,, The organ built by Andreas Silbermann (1678— 1734) at the Abbey Church in Marmoutier (Alsace), France, 1708-10, and enlarged by his son Johann Andreas in 1746. In the foreground is the Ruickpositiv, above the hidden console the Hauptwerk. The tall pipes are for the pedals. [ insreusmnrat M Que PERIOD vy tare BAROQUE norne tA wusic INT as a subject for imitation, which resulted in a more contrapuntally elaborate setting resembling the motet. In the chorale variation, also called chorale partita, the chorale tune servi as the theme for a set of variations. This genre emerged early in the seven- teenth century in the works of Sweelinck and Scheidt. Later composers, up to the time of Bach and beyond, modified the technique. Buxtehude’s Dan: dem Herrm, denn er ist sehr freundlich (Thank the Lord, for He is very kin, NAWM 74) is an example of a late-seventeenth-century chorale variation Here, Buxtehude treats the chorale as a cantus firm voice in each variation. In a chorale fantasia the composer fragments the chorale melody and develops the resultant motives through virtuoso fingerwork, echoes, imitative FeamacrPoint and ornamentation, The severe contrapuntal style of Scheidt’ fantasias gradually gave way to the free, loquacious compositions of Buxte hude and other North German composers, i re Prelude, a term often applied to any chorale-based organ wotk ised here to denote a short piece where the entire melody is presented just tm. This type of chorale prelude did not appet! Suggests a liturgical practice in which the organist improvising the accompaniment and ornaments, us, placing it in a diferent SSINBINg Of the oi atte cbOrale Preludes even jr ¥ did ng a work was, in effect, a singte Variation Hs pe of number OF ferent vara pny chorale, Later, these Serve the original chniques 4 chorale, and it ——————_ Music for Harpsichord and Clavichord c periods especially in Germany, C wo intended for the harpsichord oy clavichord, or indeed for ven The most important genres were the theme and variations and the works of either gente were suitable on any keyboard instrument oa M atement of «theme (air, dance, chorale ations eS back tothe early hist, er so preferred to write an origi poses hee than follow the earlier practice of nara) comprised a large proportion of later Ba su se .ds emerged: the amorphous collectio, asin’ gs, and the German variety clustered around four standard dances, west the clavier suite (or partta) in Germany had assumed a definite ni f four dances: allemande, courante, Sarabande, and gigue. To these os be added an introductory Movement or one or more optional dances ia cither after the sigue or before or after the sarabande, The international placed of the suite is striking: the allemande is Probably of German origin, ae is Pesihy the sarabande Spanish (imported from Mexico), and Pe Atido’Irsh, The four standin dance movements are all in different ee bot have the same key and the same two-section, or binary, form, I" 's not always clear whether ns produced by the French 9 (CHORD AND cLAVIcHORD 2 the congregation's oF chojy ~ Double-manual harpsichord built by Michel Richard, Paris, 1688, (New Haven, Yale University, Collection of Musical Instrus ‘ments, The Albert Steinert Collection. Photo copyright 1995 by Thomas A. Brown) vy Jacquet de la Guerre vee ae rae care ence Pea posers of suites in France were Elisaheth abet 1729), and Frangois Couperin (166 y 681755) hy presentative comm ile reputation asa singer and harpsich, Me a Guerre (1665 an envial veger of carnatas, Hur MUSHY rrisian critic hailed her as “the ma Fvel of oy At of these media and for the orgag st pieces, which ie - as al led Jacquet de | juerre earned aquet de la tas and works fo T harpsichorg and asa comp sembles, AP chamber Couperin, who wrote enty-severt gro lavecin at they were not as ordered” as their German co b, unten Mts) tury in published te (ironic given th ups of ¢ RRR ees nb wa he allemande is usually in a moderately fast duple Y tegins witha short upbeat and presents 2 smooth, comment & movement of eighth and/or sixteenth notes in which tal voices participate (see Froberger’s Lamentation, NAWM 67). all the The typical courante is in a moderate compound duple or coy triple meter (for 3) or shifts between the «wo (see Example tig “hifting is particularly effective at 2). The hemiola resulting from such Sometimes the French courante is replaced in suites by the Italian corrente, ‘a faster dance in } time with a more homophonic texture. Examete 11.2. Elisabeth-Claude Jacquet de la Guerre, Courante, from Pigces , from de clavecin, 1687 a* Music POM HAwpsic bande is a slow move 1oKD ne sar movement ie th wind dldwordad Jor mete, at LDS with **: often with the thyth HLA) His generally more hom erp ¢ ante: A double, an ornamented variag Phonic than Fats the sarabande, ion Of the ori m the second heat the allemande and iginal dance, some. Elisabeth-Claude | equet de |, lac W 4 vein) 1087 ‘uette, Sarabande, rom Pi from Piéces | the gig, usally the final nomber of the suit, cries 22 0F even 4), with wide melodic iisend maidens ariplets. Quite often the style is fagal or quasi-fugal (E continuous lively geond section may use an inversion of the first Bowens ™ eme. | gwune 11.4 Elisabeth-Claude Jacquet : | dvecin, 1687 icquet de la Guerre, Gigue, from Piéces de woe ew | ter Ssurce of examples: Carol Hi Pidces de elavecin (Paris: HE 32629) ples: Carol Henry Bates, sin (Pati 2629) ae snry Bates, ed., Pidces de clavecin Paris: Heugel, HE comprise a loose aggregation of as ‘Most are in dance rhythms, such re highly stylized and refined. 's decorated with many typical of French music hie of Frangois Couperin each c Notanten, or more miniature pieces. cir fang sarabande, gigue, and the like, and a im lshmenne texture, their delicate melodic lines lents, and their conciseness and humor are ws rogue PERIOD no UE astausenran MUSIC IN THE LATE BAROQ Passacaglia and chaconne ost of them carry fanciful titles, asin c, Vingt-cinquiéme ordre from his fourth book fo elvein, 1730 Cet w | Ordre, NAWM 75): La Visionaire (The ream) La Mitra terious One), and La Monflambert (probably med afr Ane Dah wih married Monflambert the King’s wine merchand 1 Visionarg pli vyovement of this set, isa whimsical French overture La Mistereus gg | ‘allemande in f, with mainly steady sixteent oa motion. 1g typical binary dance form, the first half modultingo¢ ¢ dominant, pieces were intended as recreation for amateur performers, ‘Another clement that made its way into the Suite is the passacgy,. | chaconne,a type of variation form. The chaconne, a stately movement in | thythm, was made popular by Lully’s stage music (see Chapter 10), ag; ground, it uses @ repeating bass line and harmonic pattern. All sors wt finements could be imposed on the basic scheme. Often no distinction made between the chaconne and passacaglia, asin the Passacaille ou Chagyr® | from Couperin’s first Suite for Viols (1728), which maintains the rg = phrasing of 4 + 4 measures for 199 measures (see Example 11.54), but yg numerous variations and alterations in the pattern. from the Regency period. M takes All thet | proper Examete 11.5. Francois Couperin, Passacaille ou Chaconne from Suite No, ; for Viols a. (m. 1) 2 (md so3 7 z 6 ‘The lower line of music is for the second viol, together with the harpsichord realizing the basso continuo. b. Some of Couperin’s agréments, according to his Explication, they are to be interpreted as follows: Peep Peter ter OF Be Faun Soca . Since each ornament begins on the beat and takes its time value from the note to which it is attached, the upper line of part a of this example would be played approximately as shown here. pusemoie music 237 CM RON OY sarcangelo Covell, publication of Op, 1 welve tio sonate ca hiss (ogy) girth of Johan Sebastian ach (1950) in George Frideric Handel 1793) (1685) Lully, Armide (1686) stsabeth Jacquet de la Guerre (1665-1739 aces de clavecin (1607) 1720) Sillbermann (1663-1753) (1714) Death of Louis XIV; crowning of Louis XV and beginning of Regency (until 1723) of Philippe I, due d'Onleans (1715) Jean Antoine Watteau, The Shepherds wee | Plate Vill, facing page 227) (ca. 1717) | salem witchcraft trials in Massachusetts (1692) Death of Henry Purcell (b. 1659) (1695) “I. S. Bach, The Well-Tempered Keyboard, Part 1(1722) Death of Alessandro Scarlatti (b. 1660) (1725) «Death of Dietrich Buxtehude (b. ca. 1637) (1707) «Giuseppe Torelli (1658-1709), Op. 8, ‘Twelve concertos (1709) *Death of Antonio Stradivari (b. 1644) (1737) ‘The characteristic ornaments or agréments of both the keyboard and en- senble music from this period are indicated in the scores by certain signs tht the performer must interpret, Example 11.5b and c illustrate some of ihe signs and how they might be played. In his Art de toucherleclavecin (the Art of Playing the Harpsichord, 1716), one of the most important prac- fil musical treatises of the eighteenth century, Couperin gave precise and derailed instructions for fingering and executing the agréments and discussed ciher aspects of clavecin performance as well. Ensemble Music ‘he word sonata appears regularly on Italian title pages throughout the Ensemble somatas seventeenth century. In the earlier decades the term (like the parallel word, Sinfonia) chiefly denoted instrumental preludes or interludes in predomi nantly vocal works. After 1630 the two terms were used more and more often to designate separate instrumental compositions. The early stages of the sonata’s emergence from the canzona have been sketched in Chapter 9. ‘The typical instrumental sonata is a composition with several sections or Movements in contrasting tempos and textures, and scored for two to four ‘oo instruments and basso continuo. Within this general scheme, we can disngush two main types after about 1660. The sonata da chiesa, or church tonata,had a mixture of abstract movements and dancelike movernents, The ‘onata da camera, or chamber sonata, was essentially a suite of stylized dances, | though the opening movement was not always a dance. After 1670 both INSTRUMENT un PERIOD are Banoo ar usie IN THEE ss the seventeenth-century canzona/sonata, movements ines vragth and decreased in number. Traces oF the old cyclical! oon cr ea ona survived for many years, and the order of the rp e : dardized until the end of the century, Giovand hetd--1692) preserved thematic similarity between gyi sonatas, as did his son Tommaso Antonio vit 5-1747). However, complete thematic independence of the varig,. oe Jy became the rue in the late seventeenth century, y principle is illustrated in Giovanni Legrenzi’s sonata La Reaper (NAW 7p It consists of two movements, Allegro and Adaggio [sic], each of which he 4 canzona-like structure and a combination of fugal and nonfugal t ear ation-canz! ments did not become stan Battista Vitali (ca. movements of many of his movements increasing! church and chamber sonatas were typically scored for two treble instrumeny (usually violins) and bass; the harmonies were realized by the continuo playe, reading the bass part. This type of sonata was called a trio sonata, even though it required four players (since the basso continuo line was performed on cello or other bass instrument while the harpsichordist or organist filled in the implied harmonies). The texture described for the trio sonata—two high melody lines over a bass—remained standard in many other types of chamber music, both vocal and instrumental. Solo sonatas, for solo violin (or flute or viola da gamba) with continuo, were at first less numerous than trio sonatas but gained in popularity after 1700. Composers also began writing sonatas for larger groups—up to eight instrumental parts with continuo—as well as a few for unaccompanied stringed or wind instruments. Arcangelo Corelli The violin sonatas of Arcangelo Corelli (1653-1713) are perfect examples of the serene, classical phase of seventeenth-century musical style. Corelli, a well known performer as well as composer, studied for four years at Bologna and thoroughly assimilated the craft of the Bolognese masters. After 1671 he spet most of his life tranquilly in Rome, in the artistic circle of Queen Christin of Sweden (see window, pages 244~45). His published works consist enti of ensemble music for the violin: Opus 1. Twelve trio sonatas (sonate da chiesa), 1681; Opus 2. Eleven trio sonate da camera and a chaconne, 1685s Opus 3. Twelve trio sonate da chiesa, 1689; 4. Twelve trio sonate da came, ENSEMBLE Music 239 oA Oni 5, Twelve solo sonatas (six q pone of . Twelve concerti grossi, 1744 omer (Composed before 1700, some prob: 3s on "elli’s trio sonatas were the crownin we ie ie svete century Morcone pat of | amos red 38 EEN ak COMPOSES followed forthe nen fa oe pis compatriot he apparently wrote ng yao oe Pal century the violin, the instrument that most nearlygvyp no all But sang ¢ human voice. As if acknowledging this erence the bie qual- A anak relati kept the two violins in his tio sonatas from a sdenage hs a ied 2 PET reach beyond the hd er displays. He ser eemely HOW DOU, Ft FUN, or dificult do od exactly ake, constantly cross and exch iertocKiNB aupensions that give his works a d Corelli relied on sequences to achieve clear tonal organivt scted ditoncall within onekeyormodulstngdemmnr rane crf, the sequence is a powerful agent for establishing tonality. Corels « sdulations within a movement—most often to the dominant and lin minor ) the relative major—are always logical and straightforward. The prin- Gpes of tonal architecture that he developed were further elaborated and fatended by Handel, Vivaldi, Bach, and other composers ofthe next gener- sion, Corell’s music is almost completely diatonic: chromaticism is limited tothe rare diminished seventh or the occasional flatted (Neapolitan) sixth at a cadence. Many of Corell’s church trio sonatas consist of four movements in the {oma ane slow-fast-slow-fast order favored by other composers of the late Baroque. But this pattern has many exceptions and should not be taken as a standard. The first slow movement of a typical church sonata has a contra- puntal texture and a majestic, solemn character. The Allegro that follows is usually a fugue. This movement is the musical center of gravity for the church sonata, and it most obviously retains traits of the canzona—in its imitative style its rhythmic character of the subject, and its modification of the subject after the exposition. (In some of Purcell’s sonatas, for instance, a movement lke this is actually called “canzona.”) The middle slow movement most often resembles a triple-time operatic aria or duet. The last movement is usually a carefree dance in binary form. Corell’s chamber sonatas, both trio and solo, typically begin with a pre- | Chamber sonatas luda, after which two or three dances follow in the normal suite order, with ® gavotte sometimes replacing the final gigue. In many of Corelli’s chamber Sonata, the first two movements retain the serious character of the church ‘Sonata as well as its outward forms. They also remind us of the French over- 'we:a slow introduction with persistent dotted rhythms, followed by a fiedt canzona-like Allegro. The combination of slow introduction and fugal Ta, 1695; a chic five a camera, and one set ehrous ange ideas, often involving lecisive forward momentum. ayo HE aysreuatanran syste IN rH EAT nanooue PERIOD of dances was common in this g Allegro followed by a serie ni vet always in binary form, the first section (py movements are alt lative major and losing on the dominant oF Fel peated) making its way back (0 the (one vies, Corelli kept all the MOYEMENKS OF a trig gpg | (UGRGFRGY bike his contempors in the same key, but in all his later major-key solo sonatas, he cast one ge low tly, every CONCETO BFOSSO hay « movement in the relative minor. Simi ke Slow movement in a contrasting key inv general, Corelli's movements are thematically independent; they Care | within a movement. He states the no contrasting oF nary” them Tot the whole musical discourse at the outset in a complete sen sian —cadence. The music then unfolds ina tubject, with sequential treatment, brief mod, and fascinating subtleties of phrasing, This st ghly characteristic of the late Barogue mposers for developing motives from erate a spontaneous flow of music rase of a movement twice, as though with a definite—often Phy expansion of this st tinuow tions closing in nearby keys, spinning-out of a single theme is hi Unlike the procedures used by later co ‘a theme, the original idea seems to gen thoughts. Corelli often stated the last phi avoiding too abrupt an ending. Corell’s Trio Sonata (da chiesa), Op. 3, No. 2 (NAWM 77) illustrate some of these points. In the first movement, marked Grave, the two violins imitate each other, meet repeatedly in suspensions, separate, and cross each other over a walking bass, The following Allegro has a lively fugue subjet that soon dissolves in a continuous stream of counterpoint. The middle sow movement is like a sarabande in which the two violins hold an intense dia Togue. The final movement, simply labeled Allegro isa gigue in binary fom Like the first Allegro, it is fugal in conception, and the subject of the second half is an inversion of the opening of the first half. [WB wonaias| The movements of Corelli's solo sonatas correspond to those of the church and chamber trio sonatas. In the first Allegro, the solo violin employs double and triple stops to simulate the rich three-part sonority of the te sonata. In general, the solo violin part demands some virtuosity to execu fast runs, arpeggios, cadenzas, and extended perpetual-motion passages. Performers in the Baroque era were always expected to add to, or impr vise over, what the composer had written. For example, keyboard playes realized figured basses by improvising chords, arpeggios, and even counter points. Vocal and instrumental solo performers applied skill, taste, and e% perience to achieve the full effect of the music by means of ornaments embellishments. Such impromptu additions varied from country t0 coun and from one generation to another. Modern scholars, conductors, and pet formers who have tried to reconstruct these performance practices have fou! the task complex, delicate, and controversial. Ea: ) Composers all over Europe, especially the English composer Henry Fu cell, were greatly influenced by Italian trio sonatas and freely imitate ie sin adapted them, Handel’s trio sonatas, for example, resemble Corelli naments usually originated jn na improv e written out later or at ens might be a lea . Even though they : by special symbols | US stil retained a certain sponta. Beests an unessential of superfluous 1s saw it diferent. tn theig view, ornaments hey were an important means for movin, in Example 11.5), otname as b the word ornamentation su us for : ce Baroque music poe’ mer yet 5g, some of the dissonant ormameni we ns. Also ‘ely decorativ 'S—especially the trill and | fe oggitura—aced a certain spice that the Rotated music lacked, app jans recognized two principal ways of orn; Music 'amenting a given me. (1) Small melodic formulas, such as erie turns, appoggiaturas, ic line? : tol ordents, were attached to one or tw mes, though not always, indicated th | amet ellishments, such as scales, uns, leaps, arpeggios, and the like ended ded to make up a free and elaborate paraphrare of the written line, ee sometimes called division, dima proces inution, or figuration, was most riate for melodies in slow tempo, Embellished versions ‘of slow move- 1 - Roger claimed that his edition ented the way the composer himself played the sonatas, Whether or eres these ornamented versions were Corelli's ‘own, they surely reflected em- | sat : oe pashment practices of his time. aA “ This detal, fom a seventeenth. century painting by Pierre Dumesnil, sows a youthful Queen Christina of Sweden (seated to the left of the ta ble) presiding in the company of scholars, clerics, and others in her ile. Standing opposite her is René Descartes, (Courtesy of Giraudon/ An Resource, NY) with the French musical style, into their own country. One result was a new ‘pe of orchestral suite that flourished in Germany from about 1690 to 1740. The orchestral The dances of these suites, patterned after those of Lully’s ballets and operas, \_satite did not appear in any standard number or order. Because they were always need by a pair of movements in the form of a French overture, the ouverture soon came to designate the suite itself. Among the early col- ste 4 nyo HE ansreumengan Must Raa RIOD ap nate Hawoaue PE nq was Georg Mutat’ Floilegius (1698 ang 7 al suites WA" sical examples about the French System, | yy with ™m| and similar matters. A host of other «| ding J. S. Bach, wrote overture suites. et. including raf orchestral composition that appeareq a a the most important type of Baroque orch, sos the chance to combine in one work seve Jections of orchest which includes an ess owing, the playing of a man composers, The concert, 1680s and 1690s, soon bet . forded composers ie music, It io nants ofthe concertato mediums the texture ofa firm yo vorite traits: the co izat on the major-min lth msi orgaization based onthe major-minor key a and the construction of a longer work from se arate movem tm | kinds of orchestral concertos around 1799, everal Composers wrote seve f ipa lace most numerous and important of which were £70550 and the ye concerto. Both types systematically exploited the contrat a sonority between many instruments and one or only a few. The conce a. BFOSSO Set a smay ensemble of solo instruments, the concertino, against a large ensemble, the concerto grosso. In the solo concerto a single instrument contrasted with the large ensemble. The large group was almost always a string orchestra usualy divided into first and second violins, violas, cellos, and bass viols, with bassy continuo. The solo instruments were also usually strings: in the solo concerto, a violin; in the concerto grosso, most often two violins and continuo, though other solo string or wind instruments might be added or substituted. In both the solo concerto and the concerto grosso, the full orchestra was designated tutti (all) or ripieno (full). The concerti grossi of Corelli, among the earliest examples of the genre, employ soli-tutti contrasts in a special way: his concertos are in effect church sonatas or chamber sonatas divided between soli and tutti, in which the larger group echoes the smaller, fortifies cadential passages, or otherwise punctuates the structure. The relative prominence of the first violin part occasionally suggests the texture of the later solo concerto. German composers similarly adopted the form and style of the sonatain their earliest concerti grossi. Georg Muffat wrote in 1701 that he first en- countered this new genre in Rome and decided to try his hand at it. Wel into the eighteenth century, many concertos continued to exhibit at least one aan of the sonata the fuga or quas-fugal Allegro, Concert gs! "ative, and many composers shared Corelli's conception of them as Sonatas with the musical substance divided between concerto (soli) and ripieno (tutti), But in the solo ted ‘ M Concerto, composers experiment ‘ih new rhythmic ideas, textures, and formal schersee = is i contibuted mea, (1658-1709), a leading figure in the Bologna school ost to the development of the concerto around the turn of tt century. The six violin ¢ Ny i cludes six concerti gross, temas orel’s Opus 8 (1709), which a it represent a signif 1 at atest ignificant stage in the evolutio' inthe Tmovemar ny hat departs from Corelli's model, Most of Torelis* inthe order fat-slowfast, a succession adopted bY Ne stra al fy ers. Each of the Allegro maverey compose © motives In the ful elo on ents entirely new material we hat PY mmello in a different key. ‘This alternation ne ito movement is rounded off ang orm oe th “ie tonic * the ello is derived from vocal iy ritorne stir 4 close with a final te it meant refrain Ritornelo almost identical 10 the opening stern I music, whe wre eme Is reminiscent of the d, wate ellis scheme i Tore Mt Capo aria, with the solo instrument oF conce nee that the s on tiNO rep wn Faacture provided the master plan forthe Heine of Torelli, Vi aldi, if crt0s 0 : illustrated by the he important laces the voice. This first and and some of their con diagram below, which «k of an opening ritornello, two ine vo Eee red eee ee of the ritornell atl by of the opening titornello te close the Sipe last movements temporaries. A ‘etches 4 move. dulating solo sections loin the relative major, movement: wes ; in the realm of the concerto were matched Other composers. han A ty aii Tales coenpeene especially the Venetian Tomaso of concerti Se 750) and the Italian-German Evaristo Felice dall'Abaco mente test master of the Italian concerto of the late Baroque ee hoteate Viva whose works we will study in the next chapter. peviod was Anto: is . ‘ing the second halt i rominent during t q f instrumental music became pr lly that written tiewenenth ena (1) solo keyboard ue ae a ‘the great Baroque organs built in come ales flourished due- - italian a Hl ‘ominated by the violin, whose famous | cluded toccata and board music in "this period, tant genres of key! " by Lutheran a of chon eee compositions cultivated by ially cha- ations, espect "S, stylized dance suites, and all sorts of vari tehude in Dietrich Bunt at and passacaglia. Influential composers were an for forms—sonatas Vand Francois Couperin in France. Ensembl fms so we and chamber, and concertos—emerged ee Europe. Pioneers in logna ‘ read throug! i, Although trio and Rome, and from there sp! relli, Al "Sete were ‘Arcangelo Corelli and Giuseppe To such as ll INSTRUMENTAL MUSIC IN THE LATE BAROQUE PERIOD Y texture predominated, orchestral music began to have a life of its ow, | the opera overture and concerto, while soloists refined the art of orn, Nin | ame, Ne tation for expressive purposes as well as for virtuosic display. Even though instrumental music explored and exploited the indep, eN- dent idioms of organ, harpsichord, and violin, composers still aimed move the affections. How was this possible in the absence of words? 7 borrowed and adapted the already rich harmonic, melodic, and thyth ie vocabulary of vocal music, dance, and theatrical music, with all of itso fective associations. With this essentially international, Baroque latguag : Corelli on the violin could lament as effectively as any operatic bare Couperin on the harpsichord could charm his listeners as elegantly as i ballet dancer; and Buxtehude on the organ could inspire awe as sonic 248 ingly as a massive church choir.

You might also like