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Music of the Baroque 51 special occasions, but these instances were somewhat rare. The instrumentation of these groups was seldom specified until the late Renaissance, with the music of Giovanni Gabrieli and others. Musicians had long been aware of the unique timbres that could be created by mixing instrumental families, but no set group of instruments was adopted to serve the composers’ requirements. The instrumentation of the typical orchestra after 1600 became a little more predictable, with a group of strings (violins, violas, cellos, and a string bass) along with a keyboard (harpsichord or organ) playing the basso continuo part. To this core group, winds could be added, though they were usually few in number and type. Timpani were also added on occasion, especially in larger scale works, such as oratorios and operas. The Concerto Grosso Typical Baroque Orchestra (8–20 players) 4–8 violins 2–4 violas 1–2 cellos 1 string bass (doubling basso continuo part) Optional additions (1 or 2 of the following): Flutes (recorders), oboes, trumpets, horns timpani The earliest attempts at what would become “orchestral” music were probably instrumental canzonas and sonatas. A concerto, in its earliest form, literally meant a “competition” between large and small groups of instruments or singers. As the concerto evolved, small ensembles of “solo” instruments, called the concertino, were arrayed against a larger ensemble, known as the ripieno. As they played, the ripieno and concertino would alternate phrases, and occasionally join together. This method of producing contrasts of dynamics and timbre, called concertato, or in some cases ritornello style, was extremely effective. Eventually, the idea of combining movements of contrasting tempi into a single work became popular. Thus, the concerto grosso was born. The earliest attempts had several movements, which alternated between fast and slow. Stradella and Corelli were the early masters of the concerto grosso, but it was Giuseppe Torelli (1658–1709) who standardized the order of movements. The concerto grosso of Torelli and later composers had three movements, alternating in a fast-slow-fast tempo scheme, and usually employed the ritornello style of alternating groups in the first and last movements. Baroque Concert Grosso 1st Movement 2nd Movement 3rd Movement Fast (Allegro) Slow (Adagio, Andante) Fast (Allegro) Concertato style Usually not concertato style Concertato style
52 Chapter 5 The Suite As composers became more involved in the new orchestral forms, a renewed interest in the dance suite was building. Composers such as Froberger, Bach, and Handel composed many suites for all types of solo instruments and ensembles. Subtle differences among dances from England, France, and Italy inspired composers, especially Bach, to experiment in each of the genres. Bach composed suites in each of those national styles, and more. Handel composed the suites Water Music and Royal Fireworks Music to provide very English-sounding dance music for the pleasure of the English monarchs. Essentially, the dance forms contained within a suite did not change significantly from the dances described in the Renaissance (chapter 4). It is safe to say that most dance suites of the Baroque period were written for listening, not dancing. Still, the suite was very popular as utility music for social occasions. Composer Profile Johann Sebastian Bach (1685–1750) Many scholars feel strongly that Johann Sebastian Bach is the single greatest composer who ever lived. Considering the lives and contributions of people like Mozart and Beethoven, the determination of who is the greatest will probably never be settled. Without question, Bach was certainly one of the most intelligent men who was ever involved in music, and the sheer quantity and quality of his compositional output is almost beyond belief. Born on March 21, 1685, in Eisenach, Germany, Johann Sebastian was the son of Johann Ambrosius Bach, himself a fine musician. In fact, the Bach clan domi- Library of Congress: LC-D420-2392 nated music in the various localities in northern Ger- Bach many. Members of the extended Bach family held no fewer than thirty musical positions of significance in Germany over several generations prior to Johann Sebastian’s birth. Though certainly no prodigy, Bach received his first musical training from his father, then later from one of his brothers. He showed a remarkable gift as an organist and singer, and at fifteen he landed his first steady employment as a boy soprano at Luneburg. Here, Johann Sebastian was exposed to French and Italian musical styles that would influence some of his later compositions. In 1702, he moved to Weimar, then to Arnstadt, Muhlhausen, then eventually back to Weimar, and with each move, his reputation as an organist grew. It was not long before he was regarded as one of the finest organists in Germany, with amazing technique and an uncanny ability to improvise on any tune. During these early years, probably at Arnstadt, Bach began composing in earnest. Mostly, his compositions were related to his job responsibilities, to produce cantatas and other music for Protestant services. Johann Sebastian, a stubborn, pious man, felt that his greatest mission in life was to glorify God through music. He did not think of himself as better than any other tradesman. He tended to be rather brusque with employers and others who tried to get him to do the more mundane tasks associated with his jobs, such as training choirboys to
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Track Title/Composer/Performer Musi
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M usic to Your Ears An Introduction
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Contents Preface vii 1 What Is Musi
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7 Beethoven and the Transition to R
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Preface The purpose of this book is
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Page 37 and 38: 26 Chapter 3 Gregorian Chant Gregor
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102 Chapter 9 the Nibelung. These o
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104 Chapter 9 music drama as “a t
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106 Chapter 9 Beethoven’s music s
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108 Chapter 9 twenty years of her l
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112 Chapter 9 Composer Profile Anto
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118 Chapter 10 Music History Timeli
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120 Chapter 10 The Impressionistic
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122 Chapter 10 2 4 7 9 11 1 3 5 6 8
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124 Chapter 10 Music composed in th
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126 Chapter 10 Spain pivotal works
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128 Chapter 10 American works by or
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130 Chapter 10 that the sounds arou
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132 Chapter 10 Key Terms absolute m
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11 Introduction Beyond Classical Mu
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The Big Band Era Beyond Classical M
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Beyond Classical Music 139 This aca
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Beyond Classical Music 141 was noth
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Glossary a cappella Vocal music tha
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Glossary 147 cadenza Unaccompanied,
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Glossary 149 country western Type o
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Glossary 151 fusion A type of jazz
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inversion Mirror image of a melody
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Glossary 155 Neo-Classical Strictly
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Glossary 157 pure music Music that
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Glossary 159 spiritual Sung by Afri
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Glossary 161 triple meter A metric
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Bibliographic References Apel, Will
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166 Index chant, 25-27 character pi
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168 Index Neo-Romantic, 118, 124 no
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