The Baroque Era

1600-1750

Introduction
1600-1750 Baroque means misshapen pearl Originally meant to be negative, distorted grotesque Term applied retroactively in the 19th century for art historians to identify and age of decadence between Renaissance and Classical Era

From Renaissance to Baroque

Composers strove for affect to move the audience by artful imitation of emotion Thirst for expression led composers to increasingly esoteric forms of word-painting Reaction developed against the madrigal and such expression Word-painting artificial and childish Too many voices did not focus feeling, it only diluted

Ren to Bar..
True emotionality projected only by a single voice New style, recitative, half music-half recitation This led to stage, and eventually opera Church and court remained primary musical institutions financial resources Composers were often pulled from court jobs to better paying church jobs

Baroque Opera House

Extravagance and Control

Music in Italy was bursting out of its traditional forms, styles and genres Music freedom was abundant Simultaneously, music was becoming more structured and systematic As they tried to simplify, composers found they had to organize it more strictly in another sense so listeners did not lose track of what was happening

Secular traditions
Much music making still took place in streets and fields, coffeehouses, taverns, private homes, unwritten traditions Songs, dances, variations, and simple melodies Memory and improvisation Preserved by writing only when heard by a composers

The Enraged Musician (1741)

O Magnum Mysterium
Published in 1615 Giovanni Gabrieli (1555 1612)

Baroque Sacred Music

Oratorio Motet and Mass Cantata

Oratorio
Novel sacred genre of Baroque Sung drama without staging/costumes but included orchestra Sacred counterpart to Opera Catholic church recognized power of opera to convey moral/spiritual messages, at same time condemned opera for its power to dazzle and seduce Vatican banned opera performance in Catholic areas from Advent thru Lent

Oratorio
Oratorio filled that void 1650 the idea to present a dramatic scene from the Bible arose A narrator was used to connect plots Also includes recitative, da capo aria, and chorus Handels Messiah most popular oratorio ever

Popular Oratorios
Bach - St. Matthews Passion, Christmas Oratorio Handel Messiah, Saul, Judas Maccabaeus Haydn Creation

Cantata
From the italian cantare to sing Both small and large-scale works ranging from solo singer with continuo to large chorus, soloists, and orchestra Single or multiple movements Bachs Jesu der du Meine Seele (1724)

Jesu, der du Meine Seele

Format:
Chorus Jesu der du Meine Seele Aria Soprano and Alto Recitative Tenor Aria Tenor and Flute Recitative Bass and Strings Aria Bass Chorale

Most of Bachs Cantatas follow this symmetrical form

Mass and Motet

Non-dramatic sacred vocal music genres Polyphonic motet continued to flourish Later Baroque sacred music sounds operatic in its virtuosity No clear distinction between sacred and secular styles BEFORE 19thw century highest example of musical artistry

Cantata VS Oratorio
Cantata:
Similar theme Smaller audiences Not overly-dramatic Broken into sections, movements 10-20 minutes

Cantata VS Oratorio
Oratorio:
Same storyline More recitative More Chorus Religious Opera w/o acting

Christmas Oratorio VS. Wachet Auf