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| Gabrieli- big chords, fast passages connecting |
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| TFTFT- toccata, fugal toccata in Venice |
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| Rome- patchwork toccata, little compositions, variety in meter and tone |
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| Naples- Pasquini and Scarlatti- perpetuum mobile- fast notes, no slowing down |
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| North Germany- big elaborate, Weckmann and Vuxtehude, Bach |
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| Froberger, Mufat, Kerll- similar to Frescobaldi, less elaborate, small instruments |
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| Rossi and Fontana- patchwork |
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| Buonamente, Castello, Marini, Marula, Meri- early 1600s |
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| Fast Dance Fast, adagio added inbetween later |
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Sonata da chiesa- church sonata, FSF
Sonata da camera- chamber |
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types of Participation
Solo- unaccompanied, duet, or trio
a2- trio
a3- 4 instruments
etc. |
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| Patchwork,Fontana, Castillo, Merula, Neri |
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| Cazzati, Giovanni Maria, Bononcini, Giosepi Torelli- internal conversations within orchestra |
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| Scarlatti, Bach, and Handel- concertino (small group)/ripieno (everyone) and soli/tutti |
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| Torelli, Antonio Vivaldi, Bach, Handel- small group replaced with solo instrument |
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| Suite- international contributions |
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Italy- early development
English- Jig (guige)
Spanish- Serabande
French- number of dances, tone and stylization
German- Allemande, concept of unified entity, each his own |
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| Italian- pavane (slow duple)/galliard and passamezzo/salterello (fast triple) |
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Basard- thesaurus musicus 1603, fakebook
L. Couperin, Chambonnieres, D’Anglebert, F. Couperin |
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Allemande-moderate 4,
Courante- fast 3,
Saraband-slow 3,
Optionals- minuet (moderate 3), gavotte (cuttime), bouree (cuttime), Passepied (3/8 or 6/8), anglaise (in 2, includes hornpiped, country dance, ecossaise), polonaise (3 pedal), loure (6/4), “air” (sustaining line)
Gigue- fast 3 felt as 1 |
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| ACSOG- Allemand, Courante, Saraband, Optionals, Gigue |
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| Froberger- father of suites, ACS, AGCS or ACGS, editor changed it to ACSG |
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Bohm- adapted ACSG form
Purcell- PACS no G
Krieger- ACSGO
Pachelbell- ACOSG
Bach- ACSOG |
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| Bass is constant, different verses over it- Caccini-le nuove musiche, Peri-varie musiche, Grandi-Cantade ed arie a voce sola |
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| patchwork, Rossi, Carrissimi, Cesti |
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| Neapolitan standard cantata |
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| Overture RA RA (RA)- Recit, Aria- Provenzale, Scarlatti |
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| Germany and Lutheran, Bach- cantata 4 |
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| head of beginning of oratorios. oritorio- building performed in, oritoriani- performers, |
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| Rappresentazione di anima e di corpo, dialogue format |
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| antecedant, consequent structure- split congregation up |
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| First oratorio masterworks, going back to latin
Juptha, Jonas, Judicium Salomonis, Extremum Judicium |
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| Christmas Oratorio (Historia der Geburt Christi) Easter Oratorio (Historia der Arafanste) |
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Weinuachts (1734) Christmas
Oster Or 1736 Easter |
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| oratorios late in his life, recitativo secco and accompagnato |
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| dry texture, chordal accompaniment |
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| more elaborate orchestral accompaniment |
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| just chant, ranges and rates include Evangelist- low range middle speed, Jesus- low and slow, Turba(chorus)- high and fast |
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| Matthew, Mark, Luke, John |
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| passion chorus- jews and sometimes romans |
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| raised or heightened- passion part performed in higher key |
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| accelerated and faster in passion |
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| another word for Evangelist, chronologer |
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| person who tells the story |
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| to slow down in passion (stylized as cross) |
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| mostly chant, occasionally fauxbourdon (first inversion chords, melody line in middle) responsorial, scenic |
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| chunk of text individually set as motets |
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| operatic influence after 1600 (passion) |
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| Baroque passion- Schutz, setting of Matthew, Luke, John- recit in german, not italian |
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| Passion-oratorio: poetic paraphrases after 1700 |
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| Not strict accounts, storytelling, play-like, Bach |
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| 1703-1707-organist and choir director at Arnstadt, asked to write concerted music with instruments and voices together. Goes to Lübeck- D Buxtehude (asked to marry ugly daughter)- changed his music to “spring loaded” fast fugal sections. |
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| 1707-1708-Mühlhausen-St. Blasius- married Maria Barbara with 7 children. |
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| 1708-1717- Weimar- Kammermusicus, worked as organ fixer and builder and concertmaster. 2 dozen cantatas & big works for organ |
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| 1717-1722- Anhalt-Koether- worked for Prince Leopold- orchestral, keyboard, chamber music. Only made secular music. Inventions, well tempered clavier, Brandenburg concertos. 6 French suites, 6 English suites, 6 partitas. |
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| 1723-1750- Leipzig with Kuhnan, cantor of Thomasschule. Taught Latin, Theology, and Arithmetic. Mus der organist St. Thomas and St. Nicolas where he wrote 200+ cantatas. Art of Fugue- summarizing work, talking about form of fugue. Goldberg variations, St. Matthew and St. John passions, Christmas and Easter oratorios, Musical offerings- offering music to sons boss. |
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| Born in 1685 in Eisenach. Father was Johann Ambrosius Bach, first to teach him primarily violin and some keyboard. Mother was Elizabeth Laemmerhirt. Whole family was famous composers. Age 10 parents die, passed on to older brother Johann Christoph Bach, who was organist and choir master in Ohrdruf. Started him in keyboard lesson, brother holding him back. Age 15, sent to Lueneburg, music school. White mensural notation in library. Learned composition with the best students. Italian ornaments, French ornaments, counterpoint, keyboard- various classes. Reinckem taught him in Hamburg. Trip to Zelle, France. In 1703, violino di ripieno of Duke Saxee Weiner. |
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| Born in 1685 in Halle. German born, Italian trained. Lived and worked in England. Father Georg, barber and surgeon, and valet to Prince Saxe Magdeburg. Mother was second wife Dorothea. At 7, visited step brother, valet of Duke Saxe-Weissenfels, fell in love with organ. Duke asks Handel’s father to ensure he gets organ lessons. Cathedral organist in Halle gives Handel lessons. At 12, already assistant organist at Halle cathedral, composing motets every week, composes 6 trio sonatas for 2 oboes and continuo, and father dies. 1702- studies law at University of Halle and hates it. |
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| 1703- walks to Hamburg, hired as violino di ripieno in German Opera, directed by Keiser. Meets Mattheson, who is similar to Handel. 1706- Italian operas. 1710- Kapellmeister to Elector of Hanover, goes to England on leave of absence, writing Rinaldo. 1712- back to England, doesn’t come back to Italy. 1717- wrote Water Music, music master to Duke of Chandos, then to Prince of Wales. |
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| Florence- opera Rodrigo, Venice- opera Agrippino, Rome- 2 oatorios, La Resurrezione, Il Trionfo del Tempo e del disinganno, Naples- Aci Galatea e Polifemo (mini opera) |
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| 1720-1728- Royal Academy of Music performed at King’s Theatre Radamisto, Floridante, Ottone, Flavio, Guilio Cesare, Tamerlano, Rodelinda, Scipione, Alessadro, Admento, Riccardo I (the first), Tolomeo |
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| 1729-1732- Partnered with Heidegger, contrasted Handels awful personality- O operas- Lotario, Poro, Ezio, Orlando |
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| 1732-1737- Handel going solo, Opera of Nobility (competition to Handel, wanted to see him go down, included Porpora, Hasse, Farinelli) Senesino on Handels side until fight. 1737, both companies collapse and stroke, losing right hand and arm controls. A operas- Ariodante, Alcina, Atalanta, Armenio. |
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| 1737-1741-last operas include Serse, Jupiter in Argos, Imeneo, Deidamia. |
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| 1739-1759- Saul, Israel in Egypt, Messiah, Sampson, Joseph and his Brethren, Belshazzar, Judas Maccabeus, Joshua, Susannah, Solomon, Choice of Hercules (mythology not biblical), Jephtha-1752. 3 operations on cataracts, plays Messiah from memory, dies 8 days later (April 14th). |
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