Survey of Western Music (MUS 115) - Mary Byrne

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… Music and Rationalism (Baroque) Part 3 112. Johann Sebastian Bach (1685-1750), Brandenburg Concerto no. 2, BWV 1047 (1708-1717), Allegro: solo instruments (the concertino) are flute, trumpet, violin, and oboe. Gottfried Reiche was by reputation the finest trumpeter of the "Bach Era". It is believed that he performed the Brandenburg Concerto No. 2 on a Jager (coiled) trumpet such as in the above portrait. Here is an account of his death from a newspaper of 1734: "...Herr Gottfried Reiche, the Leucopetra-Misnicus and senior member of the municipal company of musicians in this place, suffered a stroke as he was travelling home and dropped dead in the Stadtpfeifer-Allee not far from his house where he was taken. The reason for this was on account of the enormous strain he suffered the night before while blowing [the trumpet] for the royal music, his condition having been greatly aggravated from the smoke given off by the torch-lights." Johann S. Riemer's Manuscript Chronik preserved in the Stadtarchiv, Leipzig for Wednesday, Oct. 6, 1734 http://www.peakviewmusic.com/Brandenburg%20C oncerto%20No.%202%20Piccolo%20Trumpet%20pa rt.2.html, accessed 28 June 2010 113. Johann Sebastian Bach (1685-1750), Brandenburg Concerto no. 4, BWV 1049 (1708-1717), Allegro and Air; the concertino group is two recorders and violin – usually now the recorders are replaced by flutes, but “period” performances, such as this one, are also popular May I suggest an excellent read: Stuart Isacoff’s 2003 non-fiction book: Temperment: How Music Became the Battleground for the Greatest Minds of Western Civilization 114. Johann Sebastian Bach (1685-1750), The Well-Tempered Clavier, BWV 846–893, Book 1 (1722), Prelude and Fugue in C major: at this time Clavier referred to any keyboard instrument, and is performed today on all variety of keyboard instruments; in class we will hear this performed on piano. 115. Johann Sebastian Bach (1685-1750), Christ lag in Todes Banden, BWV 4 (Easter, 1707), text by Martin Luther. i. Sinfonia: strings and continuo ii. Verse I: "Christ lag in Todes Banden" - The alto, tenor, and bass voices sing free counterpoint, while the cantus firmus is sung by the soprano in unadorned, long notes. iii. Verse II: "Den Tod niemand zwingen kunnt" ("Nobody could overcome death") - for soprano, alto and continuo. iv. Verse III: "Jesus Christus, Gottes Sohn" ("Jesus Christ, Son of God") - for tenor and continuo with 2 violins obbligato. v. Verse IV: "Es war ein wunderlicher Krieg" ("There was a wondrous war") - for soprano, alto, tenor, bass and continuo. 86 MUS 115, Course Handout, Fall 2012 Mary C. J. Byrne, Ph. D. Camosun College/Victoria Conservatory of Music
… Music and Rationalism (Baroque) Part 3 vi. Verse V: "Hier ist das rechte Osterlamm" ("Here is the true Easter Lamb") - for bass, strings and continuo. vii. Verse VI: "So feiern wir das hohe Fest" ("So we celebrate the high feast") - for soprano, tenor and continuo. viii. Verse VII: "Wir essen und leben wohl" ("We eat and live well") - A chorale, sung and played by the whole ensemble. 116. Johann Sebastian Bach (1685-1750), Wachet Auf, ruft uns die Stimme, BWV 140 (Advent, 1731), selections: text is from the Christian Bible, Gospel of Matthew, Chapter 25. (Chorus) Wachet auf, ruft uns die Stimme … [Wake up, a voice is calling …] (Chorale) Zion hört die Wächter singen … [Zion hears the watchmen singing …] (Chorale) Gloria sei dir gesungen … [May “Gloria” be sung to you …] 117. Johann Sebastian Bach (1685-1750), Magnificat, BWV 243 (Christmas Vespers, 1723), “Quia Respexit”: text is from the Roman Rite, drawn directly from the Christian Bible, Gospel of Luke, chapter 2. Quia Respexit … [Because he hath regarded the humility of his handmaid; for behold from henceforth all generations shall call me blessed.] 118. Johann Sebastian Bach (1685-1750), Mass in b minor (1749, assembled from earlier compositions), selections Kyrie: (Chorus) Kýrie, eléison [Lord, have mercy] Credo: (Chorus) Gratia agimus tibi … [We give Thee thanks …] Credo: (Duet) Domine Deus … [O Lord God, heavenly King …] Credo: (Chorus) Qui tollis peccata mundi … [Thou takest away the sins of the world] Musical Terms in association with this time period (see textbook for further elaboration): Tonality Major scale or tonality Minor scale or tonality Scale Cadence Cantata Oratorio Obbligato Text Painting Movement Concerto Concerto Grosso Concertino Sonata (Baroque period) Chaconne Passacaglia Toccata Suite Fugue Canon 87 MUS 115, Course Handout, Fall 2012 Mary C. J. Byrne, Ph. D. Camosun College/Victoria Conservatory of Music
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MUS 115 A Survey of Music History C
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3. Required Materials (a) Texts: J
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Term Paper (15%), due November 13,
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…Term Paper (15%) All theories,
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… Examinations and a Wod on Plagi
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Class 3 Sept 18 Turn in $10 for ope
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Class 12 Nov 21 Class 13 Nov 28 Cla
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Attending the Pacific Opera Victori
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… Western Classical Music on a Wo
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Elements of Music Music heard in cl
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15. Bhagavad Gītā 18:65-66, sung
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Classification of Musical Instrumen
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….Musical Instruments and Voices
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Voices No official classification C
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Page 41 and 42: Modern Bowed Strings Violin Viola
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Page 45 and 46: … Aural Traditions of the Early C
Page 47 and 48: … Music in the Medieval Catholic
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Page 55 and 56: Numerology, Letter, and Circles for
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Page 67 and 68: …Reformation and Counter Reformat
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Page 91 and 92: Deciphering the Codes Patterns in m
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Modernity and New Music … 234. Ig
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Modernity and New Music … The mos
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Modernity and New Music … 247. Aa
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Dort läuft schon Sanct Peter Mit N
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280. Marcel Grandjany (1891-1975),
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Die out of the everyday dream of a
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Modernity and New Music … 330. Le
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Gießt Nachts der Mond in Wogen nie
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Modernity and New Music … 341. Ji
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MODERNITY AND NEW MUSIC (1890 CE-PR
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My recommendation is thus: Take ca
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