Chapter_13_6e

Chapter_13_6e - Chapter 13 The Late Baroque Chapter 13 The...

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Unformatted text preview: Chapter 13: The Late Baroque Chapter 13: The Late Baroque Bach Late Baroque Aesthetic Refinement, not innovation Old forms polished and perfected Culmination of Baroque style Complex counterpoint Dramatic power Late Baroque Melodic Style Principle of continuing development Long, expansive, irregular phrases Sequential development Late Baroque Rhythmic Style Most distinctive and exciting element Strong, recognizable meter Late Baroque Texture Denser than early Baroque Contrapuntal Polyphony adds interest to middle range Johann Sebastian Bach (1685­1750) Career Weimar (1708­1717), organist Cöthen (1717­1723), court composer, conductor Leipzig (1723­1750), cantor Johann Sebastian Bach (1685­1750) Reputation Renowned as an organ virtuoso Most famous for cantatas and fugues Greatest composer of counterpoint Fugue terminology Subject: primary musical idea Exposition Opening section of fugue Each voice presents the subject Episode Free sections Subject is not heard in its entirety Definition of Fugue A composition for three or more parts Vocal or instrumental Begins with successive statements of the subject Continues with alternations of subject and episodes Organ Fugue in G minor (c1710) Nine statements of the subject Brandenburg Concerto No. 5 Concertino: violin, flute, and harpsichord Harpsichord treated as a soloist Considered the first concerto for a keyboard instrument First movement in Ritornello form Nine ritornello sections Divided in two themes, A and B Brandenburg Concerto No. 5 Solo sections Motives derived from ritornello themes Ritornello theme, part A Solo Section 1 Last solo section concludes with a lengthy cadenza for the harpsichord OPERA OPERA Performance location Purpose CANTATA Theater Church Part of a Church service Concert style Subject Secular entertainment Fully dramatized (staging, costumes, etc.) Classical Musical forms Ancient history Recitative Recitative Da capo aria Da capo aria Performance style mythology Accompaniment Orchestra (staging, costumes omitted) Gospel reading Chorus Orchestra ORATORIO Cantata: Awake, A Voice is Calling First performed November 25, 1731 Text based on St. Matthew 25: 1­13 Contrast between the wise and the foolish Theme: get your spiritual house in order Three movements for chorus Based on a traditional chorale Chorale: German hymn tune Movements use tune and text Cantata: Awake, A Voice is Calling First movement a chorale fantasy Sopranos sing chorale tune Altos, tenors, and basses Sing contrapuntal accompaniment Reflects meaning of the text Orchestral accompaniment Three motives in opening ritornello Plays an interlude between chorale phrases ...
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This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.

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