1 / 48

The Baroque Era

The Baroque Era. 1600-1750. Baroque Culture. Definitions Portuguese for “irregularly-shaped” pearl Geographical Centers. England. France. Germany. The Times. Science Sir Isaac Newton (1642-1727) Laws of gravity Calculus. Sir Isaac Newton. Johannes Kepler (1571-1630)

fiona-english
Download Presentation

The Baroque Era

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. The Baroque Era 1600-1750

  2. Baroque Culture • Definitions Portuguese for “irregularly-shaped” pearl • Geographical Centers England France Germany

  3. The Times • Science • Sir Isaac Newton (1642-1727) • Laws of gravity • Calculus Sir Isaac Newton

  4. Johannes Kepler (1571-1630) • Movement of the planets • Foundation of astronomy • Galileo Galilei (1564-1642) Johannes Kepler Galileo Galilei

  5. René Descartes (1596-1650) • Analytical geometry • Applied scientific principles to philosophy • Applied methods of mathematics to the study of what humans think and feel • Believed that human emotions could be classified in the same way scientific phenomena are classified (Doctrine of Affections) René Descartes

  6. William Gilbert (1544-1603) • Properties of electricity • Sir William Harvey (1578-1657) • Circulation of the blood • Robert Boyle (1627-1691) • Chemistry

  7. Inventions

  8. Politics – Age of Absolute Monarchs Charles II of England Frederick II of Prussia Louis XIV of France Phillip IV of Spain

  9. Religion • Roman Catholic • Protestant • New Religions • Deism • Influenced by the advances in scientific knowledge • Operated on reason alone without supernatural manifestations • Ethan Allen, Thomas Payne, Thomas Jefferson, Benjamin Franklin, John Adams, James Madison

  10. Everyday life in the Baroque • Institutions with power • Court • Church • Aristocratic Life • Middle and Lower Class Life

  11. Visual Arts • Architecture • In the Renaissance: simple, straight lines and detail Bramante – St. Peter’s Cathedral Brunelleschi – Florence Cathedral

  12. St. Peter’s Basilica, Vatican • In the Baroque: ornate, extravagant, showy Palace of Versailles, Paris

  13. Painting • Emotionally charged • Dramatic subjects • Contrast; play between light and shadow

  14. Peter Paul Rubens (1577-1640) Self-Portrait Assumption of the Virgin

  15. Rembrandt van Rijn (1606-1669) The Night Watch Self-Portrait

  16. Sculpture • Strong light and dark contrasts • Dramatic tension • Subjects are never still but moving, struggling, twisted Gian Lorenzo Bernini Self-Portrait Apollo and Daphne Louis XIV Ecstasy of St. Theresa

  17. Age of Paradox/Contrasts • Church ↔ State • Monarchy ↔ Bourgeoisie • Aristocracy ↔ Affluent Middle Class • Importance of Religions ↔ Rise of Secular • Scientific Research ↔ Superstition, Witchcraft • Importance of humanity ↔ Religious Persecution

  18. Music’s Response to Paradox/Contrast • Vocal ↔ Instrumental • 8 Church Modes ↔ Tonality (Major, minor) • Sacred Music ↔ Secular Music • Polyphonic Texture ↔ Homophonic Texture

  19. The Composer’s Life • Patronage System • Church ↔ Court • Deterioration of the Patronage System • Other Music Achievements: • Audience of the common people • Development of music for its own sake

  20. Music of the Baroque • Doctrine of Affections • Elements of Music • Melody • Long, instrumental in conception • Use of sequences • Monothematic • Use of ornamentation

  21. Harmony • Tonal • Use of Major and minor scales • Rhythm • Metric • Motoric • Texture • Homophony and Polyphony equal in importance (Late Baroque) • Thorough Bass or Basso Continuo

  22. Form • Binary • Ternary • Fugue • Ritornello • Dynamics • Terraced • Not written into the score • Timbre • Vocal • Instrumental

  23. Keyboard Instruments Painted Organ Pipes Pipe Organ Harpsichord

  24. String Instruments Viol Family Stradivarius Violins Lute Guarnerius Violin Composite of String Instruments

  25. Woodwind Instruments Wood Flute Recorder Family Early Clarinets Oboe da Caccia

  26. Brass Instruments Long Trumpet Trombones

  27. Percussion Instruments Kettledrums

  28. Vocal Genres • Opera • Began as court entertainments in Italy • Includes a story (libretto), solo singing, choral singing, dancing, costumes and sets • Forms: recitative, aria , chorus Orfeo, 1607 Tu se’ morta Claudio Monteverdi (1567-1643)

  29. Cantata • Short, unstaged operas (secular and sacred) • Used operatic forms (recitative, aria, chorus) • Sacred cantatas often based on a chorale Cantata 140: Wachet Auf, 1731 Awake, A Voice is Calling Us First Movement: Chorus and Orchestra Fourth Movement: Tenor Chorale Johann Sebastian Bach (1685-1750)

  30. Wachet Auf

  31. Oratorio • A sacred, large-scale opera • Always based on a biblical story • No staging or constuming • Larger role for the chorus • Uses opera forms (recitative, aria, chorus) Messiah, 1741 Recitative: The Voice of Him Aria: Every Valley Shall Be Exalted Chorus: Hallelujah George Frideric Handel (1685-1759)

  32. “Hallelujah Chorus” from Messiah (1741) • Perhaps one of the world’s most famous choral pieces • Text is from the Revelation of St. John Hallelujah! For the Lord God Omnipotent reigneth The kingdom of this world is become the Kingdom of our Lord and of His Christ And he shall reign for ever and ever King of Kings and Lord of Lords Hallelujah! • Combines monophonic, polyphonic and homophonic textures

  33. Instrumental Genres • Dance Suite • Originally a series of dances played for dancing • By the Baroque, suites became independent instrumental pieces no longer intended for dancing • Usually contained four dances • Often unified by key • Differed by tempo and international background • Used binary form Suite No. 3 in D Major, 1729-1731 Air Bourée Gigue J.S. Bach

  34. Sonata • Originally a “sound piece” for one instrument • Became a chamber music genre in the Baroque (from 2 to 6 players) • Four movements: fast, fast, slow, fast • Trio sonatas were popular Trio Sonata in A Minor, Op. 3, No. 10 (1689) First Movement Arcangelo Corelli (1653-1713)

  35. Concerto Grosso • “friendly contention” • Contrasts a larger ensemble (ripieno or tutti) with a solo group (concertino) • Three movements: fast, slow, fast • Often uses ritornello form Spring Concerto The Four Seasons, 1725 First Movement: Allegro Spring has come, and joyfully, The birds greet it with happy song. And the streams, fanned by gentle breezes, Flow along with a sweet murmur. Covering the sky with a black cloak, Thunder and lightning come to announce the season. When these have quieted down, the little birds Return to their enchanting song. Antonio Vivaldi (1678-1741)

  36. Ritornello Form

  37. Vivaldi - Spring Concerto, Allegro

  38. Keyboard Music • Organ and harpsichord • Often paired a “free” piece with a contrapuntal fugue [Prelude and Fugue] • Toccata: added elements of virtuosic “touch” keyboard technique The Well-Tempered Clavier, Book 1, 1722 Prelude and Fugue in c minor J.S. Bach

  39. J.S. Bach – Fugue in g minor, BWV 578

  40. Composers • Johann Sebastian Bach • George Frideric Handel • Antonio Vivaldi • Henry Purcell • Barbara Strozzi (1619-1677) • Elizabeth-Claude Jacquet de la Guerre (1667-1729)

More Related