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H&L2 test 4
Baroque 2nd half
| Question | Answer |
|---|---|
| ritornello | played by the orchestra |
| episode | solo sections of ritornello form |
| bar form | aab |
| example of bar form | Durch Adams Fall by JS Bach |
| cantata | form of Lutheran church music; combines poetic texts with texts drawn from chorales or the Bible including recitatives, airas, chorale settings, usually 1 or more choruses |
| example of cantata | Nun Komm, der Heiden Heiland |
| ordres (suites) | French for suites, based on dance forms; have delightful titles such as "La Voluptueuse"; intended for amateurs to play for their own entertainment |
| example of an ordre | Vingt-Cinquieme Ordre by Couperin |
| fugue | a contrapuntal composition in 2 or more voices built on a subject (short melody) that is stated in all voices and throughout the composition |
| example of a fugue | Prelude and Fugue in A Minor by JS Bach |
| what date was Prelude and Fugue in A Minor | c. 1715 |
| who wrote Prelude and Fugue in A Minor | JS Bach |
| Prelude and Fugue in A Minor | virtuosic prelude; fugue; beings in the tonic; modulates through various keys; returns to tonic |
| ritornello form | standard for fast movements; alternates episodes and ritornellos; small melodic units manipulated by the soloist or ritornellos; may present part of the original theme |
| example of ritornello form | Concerto for Violin and Orchestra in A Minor |
| da capo aria | return to the beginning and repeat with embellishments |
| example of da capo aria | Bewundert, O Menschen by JS Bach |
| concerto grosso | concerts for multiple soloists and orchestra |
| concertino | soloists |
| ripieno | orchestra |
| passion | an oratorio performed during Holy Week (recounts the last suffering & death of Jesus Christ); 2 by Bach survive; has recitative, arias, choruses, chorales, and orchestral accompaniment |
| example of a passion | St. John Passion and St. Matthew Passion by Bach |
| oratorio | religious dramatic work of music; incorporates narrative, dialogue, & commentary; Latin, Italian, or English text; not staged, developed in Rome 17th Century; especially performed during Lent when opera was forbidden |
| example of an oratorio | The Messiah by Handel |
| Mass | Catholic service including kyrie, agnus dei, credo, sanctus, and gloria |
| Bach's only setting of the Mass | Mass in B Minor; Bach's only complete setting of the Catholic Mass Ordinary; was a challenge for Bach: he had written all Mass parts before except the credo; not completely Catholic or Lutheran |
| sonata | emerged as the principal form of chamber music (music meant to be performed in small intimate gatherings); expanded in size; Italians were the masters; became multi-movement works with contrasting movements |
| two types of sonatas | chamber and church sonatas |
| example of a sonata | Trio Sonata Op. 3 No. 2 by Corelli |
| Arcangelo Corelli (1653-1713) | born into a well-to-do family in northeran Italy; studied violin & composition in Bologna; leading violinist & composer in Rome; also a violin teacher & orchestra director; founded a school for violin playing; wrote only for strings |
| example of a piece written by Corelli | Trio Sonata Op. 3 No. 2 |
| Sonata da camera | chamber sonata; a series of stylized dances; often begins with a prelude |
| sonata da chiesa | church sonata; contains abstract movements (only labeled with tempo markings); includes 1 or more 2 part dances; may be performed during the liturgy; 4 movements: slow-fast-slow-fast |
| example of a sonata da chiesa | Trio Sonata Op. 3 No. 2 |
| trio sonata | most common instrumentation-4 players; 2 solo instruments (usually violins) with basso continuo |
| Corelli and trio sonatas | melodies stress lyricism (less emphasis on virtuosity) often published in sets of 12; walking bass (steady often descending 8th notes); 2 violins-equal range & musical material; harmonic/Corelli suspensions: drive the harmonic momentum |
| example of a trio sonata | Trio Sonata Op. 3 No. 2 |
| chorale prelude | played before each chorale, sometimes used to accompany congregational singing |
| example of a chorale prelude | Durch Adams Fall by JS Bach |
| solo concerto | concerto where a soloist is accompanied by an orchestra |
| example of a solo concerto | Brandenburg Concertos (1712) by JS Bach |
| date Trio Sonata Op. 3 No. 2 was written | 1680 |
| Trio Sonata Op. 3 No. 2 was composed by | Corelli |
| Trio Sonata Op. 3 No. 2 | trio sonata; church sonata; 4 movements; Corelli suspensions; walking bass line; stress lyricism; stays in closely related keys (D Major and B Minor) |
| date Violin Concerto in A Minor, Op. 3, No. 6 was written | c. 1710 |
| Violin Concerto in A Minor, Op. 3, No. 6 was composed by | Vivaldi |
| Violin Concerto in A Minor, Op. 3, No. 6 | violin concerto; ritornello form; 3 movements: fast-slow-fast; episodes and ritornellos; solo violin; episodes: develop melodic ideas and present new figuration; melodies are long and expressive |
| date Durch Adams Fall was written | c. 1716 |
| Durch Adams Fall was composed by | JS Bach |
| Durch Adams Fall | chorale prelude; chorale tune in the top line- heard once with few embellishments; bar form; jagged descending leaps depict Adam's fall from grace; chromatic line-slithering serpent; downward sliding tenor-pull of temptation |
| date Water Music was written | 1717 |
| Water Music was composed by | Handel |
| Water Music | music to accompany King George I's lavish river excursions on the Thames; many barges of royals attended; 50 musicians performed; 1 hour of music; consists of 3 suites Suite I, II, & III; we listened to Suite II in D Major ("Horn pipe") |
| date Music for the Royal Fireworks was written by | 1749 |
| Music for the Royal Fireworks was composed by | Handel |
| Music for the Royal Fireworks | celebrate a treaty that ended the War of the Austrian Succession; 12,000 attended the concert; music to accompany grand fireworks; turned into a fiasco! (20% of the bombs & rockets ignited; launch caught fire) |
| date Vingt-Cinquieme Ordre (25th Order) was written | c. 1730 |
| Vingt-Cinquieme Ordre (25th Order) was composed by | Couperin |
| Vingt-Cinquieme Ordre (25th Order) | La Visionaire: like a French Opera overature, binary form (2 parts grave & viste), lots of ornaments; La Muse Victorieus: passepied, tempo-boldly and audaciously; balanced binary form-both sections end with the same melodic idea |
| passapied | triple meter; a faster relative of the minuet |
| date Mass in B Minor was written | 1747-1749 |
| Mass in B Minor was composed by | JS Bach |
| Mass in B Minor | Bach's only complete setting of the Catholic Mass Ordinary; Bach had not written a Credo yet; not a conventional Catholic Mass; not completely Lutheran in theology; music adapted from earlier compositions; not performed completely during Bach's lifetime |
| first performance of the Mass in B Minor | Felix Mendelssohn conducting; sparked the Bach revival |
| Dieterich Buxtehude (c. 1637-1707) | renowned organist; composed organ (preludes & chorales) & sacred vocal music; powerful influence on JS Bach; son of German organist working in Denmark (trained w/ his father); played in German churches services but had to marry his predecessor's daughter |
| who held free, public concerts at St. Mary's that attracted musicians from all over Germany; hint: JS Bach walked more than 200 miles one way to hear him | Dieterich Buxtehude (c. 1637-1707) |
| date Messiah was written | 1742 |
| Messiah was composed by | Handel |
| Messiah | "the oratorio of the ages"; composed in 24 days; premiered in Dublin; introduced to London in 2/23/1743 (King George II attended; "Halleluiah" Chorus tradition started); texts from King James version of Bible and Psalms from BCP; 3 parts |
| 3 parts of the Messiah | Isaiah's prophecy, Christ's passion and Judgement Day |
| date Nun Komm, der Heiden Heiland was written | 1724 |
| Nun Komm, der Heiden Heiland was composed by | Bach |
| example of sacred contata | Nun Komm, der Heiden Heiland |
| Nun Komm, der Heiden Heiland | from 2nd cycle of contatas from Leipzig-1724, incorporates a chorale tune of the same name; for the 1st Sunday of Advent; opening chorus-simple 4 part arrangement; includes recitatives & arias in operetic style; ritornello from & da capo form in the arias |
| example of da capo aria | Nun Komm, der Heiden Heiland |
| date Praeludium in E Major written | late 17th Century |
| Praeludium in E Major was composed by | Buxtehude |
| Praeludium in E Major | organ prelude; music played before a Lutheran service; a challenging assignment for organ students; toccata in style; alternates free & imitative sections; different tempos, meter, melodies, etc; unified by E major; virtuoso writing for manuals & pedals |
| date St. Matthew Passion was written | 1727 |
| St. Matthew Passion was composed by | Bach |
| St. Matthew Passion | 1st performed on Good Friday; considered "the most heart-rending mourning for the dying Christ in our art"; no hint of the resurrection; no hope of rebirth; emotional acceptance of death; minimum 3 hrs long |
| St. Matthew Passion includes what in its instrumentation | solo singers; 2 choirs; boys' choir; 2 orchestras; and two organs; in the excerpt we listened to there was a narrator (tenor) as the Evangelist; Jesus (bass); and 11 choir voices asking "Lord is it I?" |
| Jean-Philipp Telemann (1681-1767) | self taught; studied law; organist & choirmaster in German churches; productive musically but troubled personally (1st wife died 2nd gambled & cheated); most prolific composer (over 3000 works); a leading German composer, infrequently performed today |
| who was one of the most prolific composers of all time | Jean-Philipp Telemann (1681-1767) |
| who wrote Concerto in G for two violins | Telemann |
| Francois Couperin (1668-1733) | French; wrote ordres; wrote a treaties-L'art de toucher le clavecin (French baroque performance practice); composed church and chamber music; harpsichord teacher; best known for harpsichord music |
| George Frideric Handel (1685-1759) | German; studied organ, harpsichord, & counterpoint; wrote operas; respected by Beethoven; moved to London & became a citizen; prospered in England; now rarely performed; wrote 29 Oratorios (very successful) |
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