2. MUSIC OF THE BAROQUE (1600-1750)
“The figured bass is the most perfect foundation of music” Joanne Sebastian Bach
The Music of Bach and Handel
3. Johann Sebastian Bach (1685-1750)
Born in Eisenach, Germany (also the home of
Johann Pachelbel) whose father was the director
of the town band, J. S. Bach became proficient on
the violin and harpsichord at an early age. He was
a Lutheran choir boy and during his lifetime was
known more as a great organist than a composer.
However due to the revival of his music and
performances in the early 19th century, Bach is
now considered one of the main composers of the
Baroque era and one of the greatest composers of
all Western European music.
He composed hundreds of church cantatas and
organ chorale preludes (based upon church hymn
tunes) for St. Thomas Church in
Leipzig, Germany, where he served as music
director for more than 27 years.
4. Johann Sebastian Bach: The Art of the Fugue
One of Bach’s greatest achievements is his mastery of the fugue – a polyphonic
composition based upon one melodic theme called a subject. In a fugue different
voices (usually 3-5) whether sung or played imitate this melodic line. Although
usually constant throughout, the imitation by the other voices can adopt different
melodic and rhythmic ideas.
A fugue always begins with a solo voice stating the subject. Once the subject is
imitated by another voice (usually a fifth higher in pitch), the original voice
continues with different melodic ideas.
Often times there will be a second or counter subject that is also imitated by the
other voices. Stretto is a term describing when a subject is imitated before the
subject is completed and the subjects overlap.
The fugue subject can also be stated
upside down (inversion); played
backwards (retrograde); played with
longer note values (augmentation); or
with shorter note values (diminution).
Fugues can be independent pieces or
embedded in longer compositions. Bach
wrote many fugues that are preceded by
a free form prelude or toccata.
7. Johann Sebastian Bach: The Six Brandenburg Concertos
Some of Bach’s most performed and recognizable compositions are the six
concertos (actually concerto grossi) composed for the Prince Leopold of Cöthen
around 1719. These are known as the Brandenburg Concertos since their
dedication was to Christian Ludwig, margrave of Brandenburg-Schwedt.
The fifth of these, BWV 1050, is in D major and includes in the concertino, a
flute, violin, and harpsichord. The ripieno includes violin, viola, cello, and
continuo.
It is interested to note that in this concerto, the
harpsichord performs a dual role: that of obbligato
soloist (that is the notes to be played are written in
the part) and that of continuo realizing the figured
bass.
There is evidence that Bach included the
harpsichord as part of the concertino in order to
“show off” the purchase of a new instrument that
he purchased in Berlin. Bach played the harpsichord
at the premiere and no doubt proved his reputation
as a virtuoso keyboardist.
There are three movements: Allegro; Affettuoso;
Allegro.
10. The dance suite as established by late Renaissance composers such as Michael
Praetorius became the main instrumental format for the Baroque. The suite that
sometimes began with a Prelude or Overture included a variety of common
dance movements:
• Allemande (a solemn stately dance
in duple time)
• Courante (a lively dance in triple
time)
• Sarabande (a slow syncopated
rhythm in triple time)
• Minuet* (a French stylized dance is
moderate triple time)
• Gavotte* (a stately dance in 4/4
time often with an upbeat)
• Bourée* (a quick dance in duple
featuring an upbeat)
• Gigue (a lively “jig” in triple-
compound rhythm often with
contrapuntal textures.)
* The dances inserted between the Sarabande
and the Gigue are optional.
11. Johann Sebastian Bach: The Four Orchestra Suites
Bach composed the four orchestra suites during his service to Prince Leopold of
Cöthen (1719-1723). The suites, sometimes referred as Ouverture-Suites because
the first movement is a French-style baroque overture*, are made up of the
traditional dance suite movements in addition to specialty dances such as the
Gavotte, Forlana, Minuet, Bourée, Passepied, Rondeau, Badinerie, and
Réjouissance. Each of the four suites have different instrumental combinations
and keys. *The French Ouverture was characterized by a slow introduction with
dotted rhythms followed by a faster polyphonic section and a return to the slow
introduction.
In Suite No. 3 in D major, BWV 1068, one of the
most performed of all the suites include include
three trumpets, timpani, two oboes, 2 violins, viola
and basso continuo.
The second movement “Air” is one of the most
recognized of all Bach’s compositions and is often
heard in films*, TV ads, and performed as a solo
piece for violin. It is the basis of the 1970 Procol
Harem hit song “Whiter Shade of Pale.”
Following the Ouverture and Air, there are two
Gavottes, a Bourée, and a closing Gigue.
*”The Spy Who Loved Me”
12. George Frideric Handel (1685-1759)
Handel was born in Halle, Germany (now a
part of Saxony in the former East Germany) in
the same year of J. S. Bach. His father was 63
when he was born who had little interest in
music and who forbade the young Handel from
meddling in music. Handel would sneak out of
the house to learn to play the harpsichord and
became a very skilled player.
However when Handel turned 17, he followed
his father’s wishes and entered law school.
After one year, Handel left school and took a
position as a violinist and continuo
harpsichordist in the orchestra of the Hamburg
Opera. This inspired him to start composing
opera and in 1706 due to the success of several
of them he was invited to visit Florence at the
invitation of Gastone de’ Medici.
While in Florence, Handel composed several operas in Italian and became
acquainted with many patrons and soon moved to Rome. There he composed
several cantatas and oratorios for various patrons including cardinal Pietro
Ottoboni (also a patron of composer Antonio Corelli).
13. George Frideric Handel in England (1712-1759)
In 1710 Handel’s reputation as a composer was sufficient enough to land him the
position of Kapellmeister (music director) in the court of the German prince Georg, the
Elector of Hanover.
But within two years, Handel would leave Hanover
and move permanently to London accepting a
position in the court of Queen Anne. By chance, in
1714, Elector Georg would become King George I of
Great Britain and Ireland. Handel made up to the
now King of England and would stay in England for
what would become an extended stay of 47 years.
Handel would continue to receive handsome
commissions from King George and as well as many
Earls, Dukes and Lords in the King’s Court.
One of Handel’s most beloved works Water Music
was composed in 1717 at the request of the King to
provide music for a trip on the Thames River. The
piece is divided into three suites that include a
French ouverture, minuets, Bourées and hornpipes.
Playing on barges, the orchestra of more than fifty
musicians consisted of trumpets, t horns, a
flute, oboes, a bassoon, strings, and continuo. Of Handel and King George I on a Thames
these the hornpipes and Air are among the most River barge enjoying Handel’s Water Music.
popular. Painting by Edouard Jean Hamman.
14. MUSI1201 Carl Daehler
BAROQUE CHORAL AND SACRED FORMS
Vocal music was prevalent in the Baroque opera that remained a dominant
vocal style throughout the Baroque especially operas by Handel. Also a large
number of sacred works written for the Lutheran church as well as for the
public stage reintroduced the polyphonic style reminiscent of the Renaissance.
15. The Church Cantata
Since the days of Martin Luther, music was always an important part of the
Lutheran service. Johann Sebastian Bach was a member of a Lutheran boy’s choir
from an early age and always remained faithful to the church. He served as
Cantor of the St. Thomas School and music director of the principal churches in
Leipzig from 1723 to his death in 1750.
At the school Bach provided all of the musical instruction for his students, many
of whom would sing in his church choirs.
Bach also was the town music director and assumed the directorship of the
famous Collegium Musicum founded by Georg Philipp Telemann that provided
music for a variety of civic functions. Bach composed many of his secular pieces
for this ensemble comprised of students and local professional musicians.
As part of his church duties he had to provide a cantata for each Sunday service
and for all church holidays during the liturgical year. He arranged his cantatas in
cycles based upon the Gospel readings for each Sunday and feast days in the
Lutheran calendar.
Bach used as a musical basis for most of his cantatas, a church chorale or hymn
tune that would be sung in German by the choir and congregation. The Cantata
consisted of multiple movements including choruses, arias, duets, and four-part
chorales for which the congregation would join in. In all Bach composed more
than 300 sacred cantatas.
16. “Wachet auf, ruft uns die Stimme” BWV 140
The text of the cantata “Wachet auf” is from the First Epistle to the Thessalonians “be
prepared for the day of Lord” and from the Gospel of Matthew, the parable of the Ten
Virgins (Matthew 25:1-13). The chorale hymn tune is based upon “Wachet auf” by
Philipp Nicholai. The cantata was performed on the 27th Sunday after Trinity and was
first performed in Leipzig on the 25th of November, 1731.
The cantata is scored for three soloists: soprano, tenor, and bass. There is a four-part
choir, horn, 2 oboes, a taille (alto oboe), violino piccolo, two violins, viola, and continuo.
The cantata opens with a chorus (“Wake up, the voice calls to us”) based on the first verse
of the chorale. The tune itself is sung in long tones against shorter, dotted rhythms. This
is followed by a recitative sung by the tenor (“He comes”). A duet (“When will you
come, my salvation”) follows for soprano (representing the “soul”) and the bass
(representing the voice of Jesus) with an obbligato solo violin and continuo
accompaniment.
The fourth movement is based upon the second verse of the chorale (“Zion hears
the watchmen singing”) sung by the tenors
accompanied by a well-known obbligato me lody.
The fifth movement is a bass recitative (“So come
in with me”) followed by a duet (“My friend is
mine!”) sung by the soprano and bass accompanied
by the oboe. The final movement is a four-part
setting of the final verse of the chorale (“May
Gloria be sung to you.”)
17. Georg Frideric Handel - Oratorio “Messiah”
The oratorio is a large musical composition including an orchestra, choir, and soloists.
Although similar in musical form to an opera, the oratorio is not a staged work, but
rather a concert piece with little interaction between characters and no props or special
costumes. The text of the oratorio is sacred and was often performed in churches on holy
days when operas were not staged.
Handel’s “Messiah” is his most famous and most often performed of all the baroque
oratorios. It is a crowning musical achievement of the Baroque era. It is based upon
scriptural text from the King James Bible and is in three parts: Part I begins with
prophesies by Isaiah and the annunciation to the shepherds; Part II is Christ’s Passion
and ends with the Hallelujah Chorus; Part III covers the Resurrection of the dead and
Christ’s glorification in heaven.
It was first performed in Dublin in 1742.
There are more than 50 instrumental and vocal pieces
in the oratorio including choruses, recitatives which
often state the biblical text followed by arias and duets
that express an emotional sentiment. Handel makes
use of the Renaissance technique of “word painting” as
well as many examples of multi-part polyphony.
The work was immensely popular in Handel’s day and
was a favorite of King Georg II. In fact it is a tradition
that when the Hallelujah Chorus is sung, the audience
is asked to stand. Autograph score of final bars of
Hallelujah Chorus
18. Georg Frideric Handel - Oratorio “Messiah” (con’t)
The entire performance of Messiah is more than two hours. However there are some
representative pieces that show Handel’s mastery of theatrical technique and music
genius.
The work opens with traditional French overture (an opening slow dotted rhythmic
section followed by a faster fugal section). The third piece is the tenor aria “Ev’ry Valley
Shall Be Exalted” sung by the tenor. Notice the many examples of word painting.
“For unto Us a Child is Born” is a chorus. The joyful music celebrates the birth of a royal
child whose names predict salvation. There are two contrasting melodic ideas presented
in a transparent polyphonic texture. Notice the extended melisma's on the single syllable
“born.”
The most recognizable piece in “Messiah” is the last piece
of Part II the “Hallelujah Chorus.” It is perhaps the
world’s most famous chorus piece. It is sung by small
groups and very large choruses and full symphony
orchestra.
It is a joyous combination of homophony and polyphony
with a lot of imitation between the voices as well as
repetition of rhythmic figures. It is full of majestic
proclamation especially with the addition of the trumpets.
The text is taken from Revelations which celebrates God as
the almighty and everlasting ruler.
Performances of “Messiah” are often done during the Autograph score of final bars of
Christmas season, but are also during the Easter and Hallelujah Chorus
Lenten season.
