Baroque 1600-1750

Question 1

Air de cour

Answer 1

“Court song”
A short strophic and homophonic chanson often with refrain which first appeared in France around 1550
Usually performed as a solo or duet with lute accompaniment
Characteristic is the constant shift between duple and triple meters

Question 2

Affektenlehre

Answer 2

(Doctrine of the Affectations)
Baroque composers in general strove to affect the emotions of a listener through musical means. One movement was devoted to stirring up one affect. This aesthetic can be seen as an extension of the renaissance musica reservata and led to the emotionalism of Empfindsamkeit

Question 3

Almira

Answer 3

Handel’s first opera in 1705 in Hamburg composed at 19

Question 4

Anthem

Answer 4

Settings of the morning and evening services of psalms and of pieces for the offertory communion post communion and for special occasions. During the second half of the 16th century two types appeared: The verse anthem with verses for solo voices and instrumental accompaniment, alternating with courses for the full choir; and the full anthem which was a coral motet in English

Question 5

Ariadne musica

Answer 5

1715
A collection of keyboard preludes and fugues in nineteen different major and minor keys by JKF Fischer.
These pieces served as training in composition and performance
Did not apply equal temperament, as certain keys were avoided

Question 6

L’Art de toucher le clavecin

Answer 6

Francois Couperin’s treatise (1716) on Clavecin performance

Detailed instructions for fingering and execution of the agrements (ornaments)

Question 7

Artusi

Answer 7

1540-1613
Composer and theorist
L’Artusi overo delle imperfettioni della Moderna musica (1600)
Artusi criticizes Monteverdi’s contrapuntal licenses, particularly his apparent freedom with dissonances, which Monteverdi considered part of the “second practice”

Question 8

Bach, Johann Sebastian

Answer 8

1685-1750
Served as an organist at Arnstadt 1703-1707
Organist at Muhlausen 1707-1708
Court organist and concertmaster in the chapel of the duke of Weimar 1708-1717
Music director at the court of a price in Cothen 1717-1723
Cantor St. Thomas’s school and music director in Leipzig 1723-50
Composed in almost all forms of his time except for opera
Early career wrote mostly organ works including: chorale preludes, several sets of variations on chorales, some toccatas and fantasias which show influences of Buxtehude.
At Cothen - he wrote no church music but The Well-Tempered Clavier Part 1 1722, instrumental works (Bradenburg concerti, works for solo violin and solo cello), music for instruction and for domestic or court entertainment.
At Leipzig he wrote cantatas, and other church music, Goldberg Variations
His style exhibits a mastery of counterpoint and a fusion of Italian, French and German characteristics, copious musical invention, balance between imaginative use of pictorial and symbolic figures, intensity of expression always controlled by a ruling architectural idea and the technical perfection of every detail.

Question 9

Bardi

Answer 9

1534-1612
Member and host of the Camerata in Florence starting in the 1570s
Wrote that the melody and rhythm should follow the text

Question 10

Baroque Organ

Answer 10

Gottfried Silbermann (1683-1753) early 18th century organ builder, trained in France, influenced by the French full organ or Plein Jeu.
German organ builders influenced by instruments in Antwerp and Amsterdam… these organs were richer and had a higher wind pressure than the sweeter Italian organs
Organ music reached a golden age in Germany during the late 17th and early 18th centuries with composers such as Bohm, Buxtehude, and Pachelbel

Question 11

Basso seguente

Answer 11

A bass line which is not figured and which simply reproduces the lowest note of the texture at any moment and therefore is expendable

Question 12

Bay Pslam book

Answer 12

The first American Psalter and the first book printed in the New World in 1640

Question 13

The beggar’s opera

Answer 13

John Gay. London 1728
English Ballad opera which enjoyed tremendous success
Piece poked fun at Italian opera
Contains many popular tunes and some numbers parodied from familiar operatic airs
It’s success was indicative of English reaction against foreign opera which led Handel to turn from opera to oratorio in the latter part of his life

Question 14

Bel canto

Answer 14

“Beautiful singing”
18th century applied to emphasis on beauty of sound and brilliance of performance rather than dramatic expression of romantic emotion
Early development tied up with early opera seria (Scarlatti, et all)
The term has also been used to ply to the compositional styles of Rossi and Carissimi who cultivated a simple melodious vocal style of song like quality without virtuoso coloraturas
Also applies to the 19th century Italian opera Rossini, Bellini, Donizetti

Question 15

Biber, Heinrich

Answer 15

1644-1704
Bohemian
Composer and violinist
Most famous virtuoso of his age
An important precursor to JS Bach he used high pitch positions, new modes of bowing, multiple stopping, and unconventional tunings
Scordatura - to produce the illusion of counterpoint (in his violin compositions)
16 Mystery Sonatas - evocations of the moods of biblical scenes
One opera
Church music employs a capella and concertato forces

Question 16

Blow, John

Answer 16

1649-1708
English composer
Organist of Westminster Abbey in 1668
1674 master of the Children at the Chapel Royal until he died
Taught Purcell
May have earned the first doctorate of music by the Archbishop of Canterbury 1671
Fluent composer of anthems and services
Master of the festive verse anthem
Contrapuntal style using English false relations and “old-fashioned” harmonies
His odes contain powerful music, especially the masterly Ode on the Death of Mr. Henry Purcell 1696 for countertenor duet, two recorders and continuo

Question 17

Bonocini, Giovanni Maria

Answer 17

1642-1678 Italian
Father of Giovanni Bonocini
Wrote attractive chamber music and was one of Corelli’s most important predecessors in the composition of trio sonatas, and development of idiomatic writing for the violin
Wrote a treatise on counterpoint which was widely known in German in the 18th century

Question 18

Bonoicini. Giovanni

Answer 18

1670-1747
Italian, Eldest son of GM Bonocini
Primarily an opera composer
He was one of the resident composers of the newly founded Royal Academy of Music (London 1720s)
Operas in London were very successful (Griselda) and were competitive with Handel’s at the time
The styles of the two were very distinct
Bonocini’ s arias were simple and tuneful while Handel tended to write extended forms and with elaborate orchestral accompaniments
One of the first perpetrators of plagiarism - tried to pass off a composition by Lotti as his own and was found out which caused him to have to leave London

Question 19

Buxtehude, Dietrich

Answer 19

1637-1707
Danish
Organist and composer
1668 organist of St. Mary’s Lubeck which he held his entire life
His fame as an organist caused Bach to travel 200 miles (apparently on foot) just to hear him play!
His style was an important influence on many young North German composers especially Bach who took Bux’s sacred vocal and instrumental music as his principal model
He wrote 120 sacred vocal pieces including oratorios, chorales and arias. His cantata (in Dulci jubilo) and Jesu meine Freude are probably the best known
Follow tradition of Schutz
His organ works: Toccatas and fugues, chaconnes, a passacaglia, chorale preludes, chorale fantasia, and chorale variations are unsurpassed and represent a perfect fusion of complex contrapuntal North German style and the brilliant keyboard style of Froberger.
His instrumental chamber music includes 14 trio sonatas and other keyboard works which are less important

Question 20

Byrd, William

Answer 20

1543-1623
England’s foremost composer during the reigns of Elizabeth I and James I
Large output: Masses (3), motets, polyphonic songs, consort songs, and works for keyboard and instrumental consort ranks among the most individual and inspired of the late Renaissance on a level with that of Palestrain, Lassus or Victoria
Pupil of Tallis
Teacher of Morley and Tomkins
Influenced every other English composer of the period
He contributed to each musical form of the day establishing new standards of excellence for each
He and Tallis were granted permission to print music in England: 1575 Cantiones sacrae both Tallis and Byrd included 17 works, one each for every year of the Queen’s reign
Prolific composer of keyboard works, many sets of variations on popular melodies and ground basses as well as stylized dance music (pavans and galliards) and abstract pieces such as fantasias and preludes
Little of his instrumental works preserved during his lifetime but complied for patrons in the vast Fitzwilliam Virginal Book.
His later CATHOLIC church music is often joyful, meditative and serene. He was devoutly catholic and suffered persecution during the prevailing Anglicanism of the court
His final collection published in 1611: Psalms, Songs and Sonnets

Question 21

Caccini, Guilio

Answer 21

1551-1618
Le nuove musiche 1601
Singer and composer who was one of the creators of early opera
Like Peri he also set Rinucci’s L’Euridice
Peri, Caccini and Cavalieri all strove for a kind of song that was intermediate between spoken recitation and singing (this led to the recitative style)
Developed a mainly syllabic style that while aiming for clear and flexible declamation of words nevertheless admitted certain embellishments of the melodic line adding an element of vocal virtuosity
Two types of songs: aris = strophic
madrigals = through composed

Question 22

Cadenza

Answer 22

Music for soloist
Especially in concerto or other works with accompanying ensemble
An improvised or written out ornamental passage performed by the soloist usually over the penultimate or ante penultimate note or harmony of a prominent cadence
Accompaniment during cadenza pauses or sustains a pitch or chord
Virtuosic cadenzas gained popularity during the Baroque Era
Baroque singers placed cadenzas at any 3 points of their ABA cadences but especially at the final one
CPE and Quantz discussed the cadenza at length in their treatises on performance
19th century cadenzas became obligatory and often placed in unorthodox positions (Mendelssohn Violin concerto) changes in position from end of recap to end of development became a common feature of vocal and instrumental music notably in piano works of Chopin and Liszt and the later operas of Verdi

Question 23

Cantata

Answer 23

A composite vocal genre of the Baroque era
Consisted of a succession of Recitatives, Ariosos and set pieces (arias, duets, and choruses)
Sacred or secular in subject matter and function
Range from small scale works for solo singer or singers and restricted accompanimental forces to large ones with chorus and orchestral accompaniment. Such large cantatas were often composed to celebrate or commemorate specific events.
Term originated in 17th century italy first used to distinguish a piece to be SUNG as opposed to sonata to be played
Most frequent cantatas performed today are by Bach. Sacred works with German texts and intended for use during Lutheran church services (typically employs several soloists and chorus accompanied by small orchestra)

Question 24

Canzona

Answer 24

Italian for “song”
BUT it was the most important INSTRUMENTAL genre of the late 16th century
Common practice for lutenists And keyboard players to make instrumental arrangements of the chanson of the French composers who flourished 1520 to 1550. These chanson were especially good material for playing: lively rhythms and tunes coupled with a simple distinctive structure.
At first the arrangers did a little more than a few trails at cadences, but later they embellish there models quite elaborately that’s transforming their nature completely.
By the late 16th century the canzona was extremely popular notably those by G Gabrielli who wrote for the large ensemble at St. Mark’s adapting the idiom of “cori spezzati” (split choirs) to bring a grand scale into instrumental music.
Some of these works are extremely complicated in form

Question 25

Di Capua, Rinaldo

Answer 25

1705-1780 Italian Composer Mainly lived and worked in Rome 32 stage works, opera seria and comic opera His compositional style shown in his sinfonia or overtures - these contributed to the development of the Classical-symphony-sonata,.

Question 26

Carissimi, Giacomo

Answer 26

1605-1674 Italian Composer one of the finest of the 17th century end of great importance in the history of the oratorio He adopted the operatic idiom of Monteverdi to the purpose of sacred drama Set Latin texts, setting Old Testament stories Uses expressive aria and Arioso developed by Monteverdi in his later operas and also the sonorous madrigalian choruses favored in Rome. He wrote masses and motets some quite old-fashioned (missa L’homme arme the last work to be based on a 15th century tune) Wrote 100+ cantatas

Question 27

Chaconne/ passacaglia

Answer 27

To ground bass patterns which were not associated with any poetic form The chaconne Was probably imported into Spain from Latin America; it was a dance song with a refrain that followed a simple pattern of guitar chords which in Italian variations upon it were transformed into a bass line The passacaglia originated in Spain as a ritornello (music having a certain pattern of guitar chords played before and between the strophes of a song). It to evolved into a variety of bass Formulas that were suitable for making instrumental or vocal variations. It was usually in triple meter and minor mode 17 century composers write both forms with a continually Repeating four bar formula and triple meter and slow tempo In the 18th century the forms began to be confused

Question 28

Chambonnieres, Jacques Champion de

Answer 28

1672-? French composer of harpsichord music and famous as a harpsichord player Founder of the French school of harpsichord composers 1670 two books: Pieces de Clavessin were published, contains mainly dances in the style brise (arranged in suites), some have titles (not program music). Delicate and elegant style

Question 29

Charpentier, Marc-Antonine

Answer 29

1645-1704 French composer of church music, sacred dramas, cantatas Studied in Rome with Carissimi at the German College In returning to Paris he was seriously hampered by French nationalism which was supposed to his Italian style Lully saw him as a serious rival during his lifetime and was his most important contemporary in France Church music is especially attractive - splendid grand motets (often using double choir) 11 masses (rich polyphony of old to the harmonization of carol tunes in the well-known Messe de minuit pour Noel early 1690s) Dramatic cantata - Orphee descendant aux enfers shows what he might have done with opera had he taken the chance

Question 30

Cherubini, Luigi

Answer 30

1760-1842 Italian composer who spent most of his career in France Educated in Florence (wrote several masses and an oratorio there) London (2 operas) Then lived in Paris for the rest of his life Known primarily as a composer of operas Lodoiska (1791 made him famous) All of his important works are sacred except for an opera, a set of string quartets, and a symphony

Question 31

Chitarrone

Answer 31

A large lute with extra bass strings | The preferred instrument for realizing the thorough bass accompaniment to a recit or aria in the early 17th century

Question 32

Chorale

Answer 32

English term for the strophic congregational hymns of the Protestant church in Germany German word Choral originally signified a plainchant melody sung chorally From the late 16th century its meaning was widened to include vernacular hymns Strictly speaking the word chorale means both the text and the melody of a hymn -as a single unit- but not infrequently the term is used to describe the music only either a single line melody or a fully harmonized version as in the four parts settings of Bach. Tunes are adapted from secular sources or are composed on similar models

Question 33

Chorale fantasia

Answer 33

An organ work in the freestyle of a Fantasia based on a chorale melody Chorale Fantasia’s many of the large scale Works were composed by many North German composers of the 17th and 18th centuries notably Buxtehude and Bach. The genre was revived in the late 19th century by such a Composers as Reger.

Question 34

Chorale prelude

Answer 34

1 In a general sense the same as the organ chorale 2 a short Setting for organ of one strophe of a chorale, Which serves as an introduction to a congregational rendering of the chorale. The melody which may be embellished is presented over a polyphonic accompaniment The chorale prelude What is developed in the late 17th century mainly by North German composers such as Buxtehude and JC Bach. Reached its culmination in JS Bach’s 45 examples of Orgelbuchlein written between 1710-1720 Term not much used after 1750 revived again in the 19th century by Brahms and Reger

Question 35

Chorale variation

Answer 35

Variations on a chorale Melody usually for keyboard. The form was popular in the early 17th century and there were several by such composers as Sweelinck and Scheidt. Later the term chorale partita was used.

Question 36

Collegium musicum

Answer 36

The earliest example of concert giving in Germany and Austria Founded in the 17 century it was associated with a quart notably in Berlin. Similar to the Concert Spirituel which later occurred in France in 1725 (but these concerts were for the public and not the court)

Question 37

Concertato

Answer 37

The characteristic medium of the 17 century which consisted of the mingling of the Voices with instruments such that the instruments are not nearly doubling the voices but have independent parts

Question 38

Concerto

Answer 38

From Italian “concertare” to join together A piece for soloist and orchestra Conceived in the concertato contrast between opposing vocal and instrumental groups in the works of G Gabrieli. The concerto concept took more definite form int he 17th century sonatas and sinfonias for divided orchestra. Throughout Early Baroque the term concerto was commonly used for Italian and German church music for voices accompanied by instruments. The history of the concerto begins with the concerti grossi of Corelli

Question 39

Concerto Grosso

Answer 39

Written for several soloists who often form concertino (or little concert) In the texture of the trio sonata and orchestra. Baroque and classical periods Preceded by the canzona, sonata and trio sonata Texture alternates between the ritornello and soloists and evolved into solo concerto

Question 40

Orchestral concerto

Answer 40

20th century version of the concerto grosso A neo classical concept Bartok “Concerto for Orchestra” 1944 Berg Chamber Concerto

Question 41

Ritornello

Answer 41

The recurring tutti section of a concerto movement or a da capo aria Ritornello form is common typically in the 1st and last movements of a late-Baroque or Classical concerto Based on alternation of tutti and solo sections Sometimes the principal formal event is the recurrence of the main theme in various keys

Question 42

Sacred concerto

Answer 42

In the 17th century secret works for voices and instruments were typically called concertos Secular works of Similar character were more often entitled airs, musiche, cantatas, and so forth Large scale secret concertos for chorus soloists and instruments were particularly common in Venice from the late 16th century onward (Monteverdi, G Gabrieli)

Question 43

Solo concerto

Answer 43

The last type of concerto to develop it had far-reaching effects on virtuosity manufacture of improvements for instruments construction of concert halls an audience attendance. Became more of a show piece in the romantic era strictly to demonstrate virtuosity that it’s more homogeneous beginnings in the classical period.

Question 44

Consort

Answer 44

A term used in the 17th century for a small instrumental ensemble Whole = the same instrument Broken = a mix of instruments

Question 45

Corelli, Arcangelo

Answer 45

1653-1713 Violinist and composer 1700 published 5 volumes of chamber music which were to make him one of the best-known composers of his time He was one of the 1st composers to vary the keys in a binary mvt in a meaningful way

Question 46

Couperin, Francois

Answer 46

1668-1733 French composer of works for keyboard he titles all of his pieces Ordres Collections of pieces which may have been intended for suite-like performance Pieces in the same ordre are linked by key used a lot of A, E, b and f# in his pieces Many pieces in the ordres bear programmatic titles Many are recognizable dance movements or more abstractly linked to dance Echoes of the Lullian opera

Question 47

Dafne

Answer 47

A poem by Rinucci which was set to music by Peri | This was produced in Florence as the first dramatic pastoral fully set to music in 1597.

Question 48

Das Wohltemperirte Clavier

Answer 48

A collection by JS Bach written in two volumes Each volume contains a prelude and fugue in all 24 major in minor keys Many of these pieces appear to have grown out of pedagogical exercises Bach set for his children and students The title refers to a version of mean-tone tuning Used during Bach’s time. This work influenced other later composers like Chopin, Hindemith, Shostakovich etc who wrote similar collections in all 24 keys

Question 49

Dumont, Henri

Answer 49

1610-1684 Contemporary of Lully and Charpentier. Wrote solo motets as well as elaborate motets for soloists double choruses and orchestra

Question 50

Fitzwilliam Virginal Book

Answer 50

A manuscript containing nearly 300 works for virginal (small harpsichord) From 1562 to 1612. It includes dances arrangements of songs and madrigals, preludes, and set of variation by the principal English composers of keyboard works of the. Like William Byrd and John Bull.

Question 51

Florilegium

Answer 51

Muffat’s collection of orchestral suites 1695-1698. Second part includes an essay about French bowing and ornaments Dances of the suites are patterned after Lully

Question 52

Forme, Nicholas

Answer 52

1567-1638 Favorite composer of Louis XIII in France Important contributions of French sacred music Lightened the style with chansonlike rhythms, madrigalistic word painting and metrical freedom

Question 53

Fortspinnung

Answer 53

“Spinning-out” A compositional process in which melodic material is continuously derived from a brief figure, Possibly buy sequence to create a continuous melodic line Typically apply to baroque textures and clearly understood when contrasted with a balanced and regular phrasing of the classical period Examples from Bach, Corelli, Telemann

Question 54

Frederick the Great

Answer 54

18th century kind of Prussia Adhered to the humanitarian ideals of the Enlightenment CPE bach served in his court in Berlin from 1740-1768 (Prussian sonatas for clavichord)

Question 55

French overture

Answer 55

An overture is originally an orchestra piece intended for an introduction to an opera or ballet or other dramatic works. In the French style there are two parts: a stately slow section in duple meter with David rhythms and then I faster fugal section in triple meter. Sometimes there is a return to the slow section. These overtures first appeared in Lully’s ballet Alcidiane and remained the standard type during the reign of Louis XIV. Adopted by the Germans and English

Question 56

Froberger, Jakob

Answer 56

1616-1667 The most renowned German keyboardists of his day, influenced by the Italians and the French The suits are among the first to use the standard group of dances: Allemande, gigue, courante and Sarabande The gigue was moved to the end of the suite and this became the classic Baroque dance suite

Question 57

Fugue

Answer 57

“Flight” The most fully developed procedure of imitative counterpoint in which the theme is stated successively in all voices of the polyphonic texture Typical for voice form: in the exposition the fugal subject is presented alone in one voice then imitated or answered usually in the dominant buy a second voice. Usually the third voice enters on the tonic and the fourth in the dominant. After statements of the subject, each voice continues with a counter subject until a cadence. And episode follows, borrowing material from the subject. The subject entrance again, either in alone or in a complete reexposition. The episodes and subject presentations can alternate several times until the final section with the subject in the tonic. The supreme examples are Bach’s well tempered Clavier and Art of Fugue.

Question 58

Fux, Johann Joseph

Answer 58

1660-1741 Gradus ad Parnassum (steps to Parnassus 1725) This treatise is a codification of Palestrinian counterpoint Represents “stile antico” in opposition to Monteverdi and “stile moderno”

Question 59

Gualtier, Denis

Answer 59

1603-1672 Represents the culmination of lute music in the early 17 century. La Rhetorique de dieux contains twelve set of dances. Each set has an Allemande, courante and sarabande.

Question 60

Geminani, Francesco

Answer 60

1687-1762 One of Corelli’s pupils who had a long career as virtuoso and composer in London He published the Art of Playing on the Violin which embodies the techniques of Corelli and other Italian masters of the early 18th century. He wrote solo sonatas and concerti grossi in the style of Corelli

Question 61

Gibbons, Orlando

Answer 61

1583-1625 Often considered the father of Anglican Church music which separated from the Roman Catholic Church in 1532 but it wasn’t until later that English was used in the liturgy and worship.

Question 62

Gradus ad Parnassum

Answer 62

A counterpoint textbook written by Fux Geared toward writing music in the prima practica style Lessons by means of a dialogue between Aloysius (master) and Josephus (student) Remained in print until present day Training manual for a number of Classic-era composers including Mozart and Haydn

Question 63

Handel, Georg Friederich

Answer 63

1685-1750 A German composer who studied in Italy and eventually settled in London Bilingual operas were common in this era of international music styles drawn from a number of national traditions Four years in Italy converted Handel almost wholly to the lyric Italian style of writing In 1710 adventure to London and staged over 40 Operas there between 1711 and 1741 Most are in the Italian style and future as Libretto subjects Roman history mythology and legend medieval romance and renaissance epics (Giulio Cesare 1724, Alcina 1735) Handel also composed numerous oratorios ranging from those lacking in dramatic thread (messiah, Israel in Egypt) The chorus is featured more in the oratorio that in the opera and it’s English style grew out of Handel’s familiarity with the English anthem Instrumental works: concerti Grossi based on those of Corelli, instrumental suites (water music, royal fireworks music) and keyboard works

Question 64

Humphery, Pelham

Answer 64

One of the first Englishmen to be admitted to the new Chapel Royal in 1660 Compositional style reflects foreign (French and Italian) influence Composed many anthems, most of which open with short instrumental preludes akin to French overtures (dotted rhythms, rich harmonies full of suspensions and majestic cadence)

Question 65

Il Combattimento di Tancredi e Clorinda

Answer 65

A work by Monteverdi in stile rappresentativo performed in Venice in 1624

Question 66

L’incorinazione di Poppea

Answer 66

Opera by Monteverdi 1642 Masterpiece for the stage and earliest Venetian works Aria, arioso, madrigal-like duets and comic ariettes make the bulk of the work (little to no chorus) Recitative is used for the loftiest moments of drama and emotion

Question 67

Italian Opera (mid 17th century)

Answer 67

By the mid 17th century Italian opera assumed the characteristics it would hang on to for the next 200 years 1) concentration upon solo singing with comparative neglect of ensembles and of instrumental music 2) separation of recitative and aria 3) introduction of distinctive styles and patterns for arias Florentines = music an accessory to poetry Venetians = libretto hardly more than a conventional scaffolding for the musical structure

Question 68

Kahnau, Johann

Answer 68

His death in 1722 opened up the cantor position at the Thomaskirche in Leipzig that JS Bach filled

Question 69

Die Kunst der Fugue

Answer 69

The Art of the Fugue The composition JS Bach worked upon featuring a series of fugues, all of which use the same subject Double or even triple fugues and feature a number of contrapuntal games like inversion and retrograde It was Bach’s contrapuntal magnum opus - a veritable compendium of late Baroque fugal technique

Question 70

Ladies of Ferrara

Answer 70

Three women singers at the court of Ferrara Who are famous for their virtuosic expressivity

Question 71

De Lalande, Michel-Richard

Answer 71

One of the four composers who won positions as sous-maitre of the royal chapel in the famous national competition of 1683 His 64 grand motets constitute the core of surviving repertory in this genre De Profundis one of the most popular

Question 72

LeClair, Jean Marie

Answer 72

1697-1764 A French composer who like Couperin combined the new style of Corelli with a native flair for simple melody nourished by the air de dance and tastefully laced with turns and trills

Question 73

Lully, Jean-Baptiste

Answer 73

1632-1687 A native of Florence who traveled to France at 14 Lully composed instrumental music for Louis XIV and was a member of the 24 violins du Roy before he led his own petits violins. Lully absorbed the rich French heritage of orchestral music As a dancer, he also composed a number of ballets de cour, including overtures, airs and recits. HIs real area of mastery however was OPERA. His librettist Quinault also achieved a satisfactory union of French and Italian elements. Lully’s music features a sharp contrast between recit and air, though the middle ground of Arioso appears. Lully’s aris often feature only solo voice with basso continuo though a two-violin ritornello is sometimes included. Lully’s instrumental orchestration in opera included 5 part orchestra Lully and Quinault eventually moved away from the Italian style and developed a new French genre - the TRAGEDIE LYRIQUE

Question 74

Luther, Martin

Answer 74

A Catholic priest whose journey to Rome prompted him to nail his ninety-five theses on the door of the church in Wittenburg. Spearheading the Protestant reformation in Germany in the 16th century. Luther enacted a number of changes in the mass and church service which included of a vernacular translation of the Bible And the inclusion of music song by the congregation rather than solely by professional musicians. Luther also penned a number of monophonic settings of psalms for the congregation to sing This modal settings were later used by Baroque Composers most notably JS Bach as Melody lines for four-part chorales

Question 75

Mannerism

Answer 75

Style used by deRore where the homogeneity of style valued in the Renaissance was sacrificed for a melange which aimed to make the representation of the text more vivid and moving. De Rore would change from one rhythmic scheme to another, from diatonicism to chromaticism, from root chords to 6th chords and from sharp keys to flat keys

Question 76

Masque

Answer 76

English counterpart of the ballet de cour and emphasized dance and musical spectacle Given both publicly and privately during 1630-1650s Basically a theatrical event and served as a forerunner of English opera

Question 77

Meantone temperament

Answer 77

A type of tuning in which perfect 5ths are tuned slightly low (1/4 of the syntonic comma or 22 cents) in order that five 5ths (c-g-d-a-e) will arrive at an in-tune third (c-e). This system works well as long as one stays within the key with only one or two accidentals in them. However, more remote keys sound increasingly out of tune and one fifth in particular the wolf-fifth (often Eb-G#) is quite bad. In effect from 1500 onward through the end of the Baroque

Question 78

Menestriers

Answer 78

Strong guilds of musicians who is strict rules of apprenticeship and accreditation made it difficult for outsiders to enter the musical profession

Question 79

Monody

Answer 79

A type of solo song that developed about 1600 in reaction to the polyphonic style of the 16th century and that is characterized by RECITATIVE like design of the voice part and by thorough bass accompaniment Caccini’ s Le nuove musiche 1601

Question 80

Motto aria

Answer 80

Baroque aria beginning with a brief and usually emphatic phrase from the singer (the motto) preceding the opening ritornello This was to avoid a long ritornello before the singer expresses themselves

Question 81

Mouline, Etienne

Answer 81

1600-1669 A French composer of Motets Wrote the first collection of sacred music published in France to have a basso continuo

Question 82

Nuove Musiche

Answer 82

Two meanings Title of a collection of arias and madrigals published by Giulio Caccini in 1601 featuring music with the new, monodic style of recitative with basso continuo Generally it also refers to the style of music becoming popular in the 17th century, which grew out of Monteverdi’s seconda practica and the musings of the Florentine Camerata Marked the beginnings of opera, oratorio and cantata as well as the Baroque period in general

Question 83

Oratorio

Answer 83

An extended musical drama with a text based on religious subject matter Originated in the 17th century Intended for performance without scenery, costumes or action Emphasis on narration, contemplation and extensive use of chorus Baroque oratorio finds significant roots in certain late 16th century motets which contain dramatic elements of narration and dialogue

Question 84

Orfeo

Answer 84

A mythical figure and story to be selected for several Operas from Baroque through romantic periods Monteverdi - La Favola d’Orfeo in Mantua 1607 Gluck composed Orfeo ed Euridice (Vienna 1762) Offenbach’s Orphee aux Enfers Paris 1858

Question 85

Pachelbel, Johann

Answer 85

1653-1706 German composer and organist one of the leading progressive German composers of his time Leading composer of Protestant church music Composed liturgical and non-liturgical organ music, chamber and vocal music

Question 86

Partita/ Chorale partita

Answer 86

1) in the late 16th and 17th centuries a variation usually one on a traditional melody such as the romanesca or passamezzo 2) Baroque period = a suite. The best known are Bach’s solo violin and keyboard partitas 3) early classical period = a type of multi movement instrumental work Many classical partitas consist of abstract movements Mostly for solo instruments, but a fair number of orchestral partitas also exist

Question 87

Passacaglia

Answer 87

A continuous variation form principally of the Baroque whose basso ostinatos formulas originally derived from ritornello to early 17th century songs It’s four bar ostinato became the basis for a long sets of continuous variation’s as well as vocal pieces Passacaglia tended to be in minor with a I-IV-V or I-IV-V-I pattern The base lines themselves might change in successive phrases or extra harmonies might be inserted but these variance fell within a limited set of formulas most often the descending tetrachord used in so many operatic laments but appearing as well in pieces titled passacaglia. Picked up by 20th century composers in non-tonal or serial pieces

Question 88

La poupliniere

Answer 88

Wealthy Parisian music sponsor who provided for a long lived semi public series of concerts in a 1730s

Question 89

Purcell, Henry

Answer 89

1659-1695 Composer, organist and bass and countertenor singer One of the greatest Baroque and English composers of the period Mastered canon and ground bass Became acquainted with the directness and relative simplicity of Italian music he attended to use it much more as a melodic feature within the framework of diatonic tonality

Question 90

Quinault, Philippe

Answer 90

1635-1688 French dramatist, librettist and poet Collaboration with Lully

Question 91

Rameau, Jean-Philippe

Answer 91

1683-1764 French composer and theorist Close contemporary of JS Bach,. Handel, Scarlatti and Telemann Leading French composer particularly of dramatic music of his time and an important innovator of harmonic theory Sacred music is the least important genre Large number of different dramatic genres: TRAGEDIE lyrique, comedie-lyrique, opera-ballet, comedie-ballet, pastorale etc

Question 92

Recitatif mesure

Answer 92

Abundant in the later operas of Lully A type of vocal writing in which the passages involved approach the air and having a uniform meter but like the repetition and closed form of the aria

Question 93

Rinaldo

Answer 93

Handel’s first London opera produced in 1711. The opera is in the Italian style

Question 94

Romanesca

Answer 94

An air for singing ottave rime, consisting of a treble formula with a standard harmonization accompanied by a bass In many compositions based on the Romanesca only the bass is recognizable so it is often referred to as a ground bass

Question 95

Rospigliosi, Giulio

Answer 95

1600-1669 | Italian Librettist the most important librettist of his day for Roman opera

Question 96

Rossi, Luigi

Answer 96

1597-1653 Italian composer singing teacher lutenist and keyboard player One of the finest composers of chamber cantatas in the baroque period and the leading composer of vocal music in Rome About 300 cantatas survive and played a significant part in the development of opera

Question 97

Rousseau, Jean Jacques

Answer 97

17th century philosopher and author as well as composer Rousseau penned many of the music-oriented entries in the new encyclopedia or Diderot including the definition of Baroque (which he derived from the Italian Baroco meaning confused and unnatural)

Question 98

Royal Academy of Music

Answer 98

London association of nobleman, supported by the kind founded in 1718 for the promotion of Italian opera

Question 99

San Petrino in Bologna

Answer 99

A large cathedral that had long been a center of concerted music since the beginning of the 17th century

Question 100

Scarlatti, Alessandro

Answer 100

1660-1725 Italian composer noted especially for operas and cantatas Reputed founder of the Neapolitan school of the 18th century opera Composed serenatas, oratorios, masses, cantatas, instrumental music and was a teacher and theorist as well

Question 101

Scheidt, Samuel

Answer 101

1587-1654 German composer and organist First generation of baroque composers in Germany He distinguished himself in both keyboard and sacred vocal music, combining traditional counterpoint with the Italian concerto style

Question 102

Schein, Johann Hermann

Answer 102

1586-1630 German composer and poet Important predecessor of Bach One of the first composers to graft the style of the Italian madrigal, monody and concerto on to the traditional elements of Lutheran church music

Question 103

Schutz, Heinrich

Answer 103

1585-1672 German composer Greatest German composer of the 17th century First composer of international status Through the example of his compositions and threw his teaching he played a major part in establishing the traditions of high craftsmanship and intellectual depth that marked the best of his Nations music and musical thought for more than 250 years after his death

Question 104

Scordatura

Answer 104

Literally “mistuning” | Often used for expressive technical effects, and applying only to the mistuning of stringed instruments

Question 105

Sonata

Answer 105

The preferred name for an independent piece of several movements for few parts with basso continuo Da camera: chamber sonata or court sonata. A work for instrumental ensemble prevalent from the 1650s-1740s. Written fro one or more melody instruments normally in the violin family and basso continuo. Associated with the dance throughout the 17th century. Da chiesa: Church sonata. A work for instrumental ensemble prevalent from 1650s-1770s. Seven or more sections or movements contrasting in meter, tempo, and texture and is written for one or more melody instruments normally violin family and basso continuo. Identifiable by serious style, fugal writing, scarcity of dance movements, organ as continuo. Later in the century term often equated to sinfonia. Corelli standardized the form. Most have four movements slow, fast, slow, fast. Composers include: Vivaldi, Handel, Bach, Telemann. Solo sonata: was for two or more players (solo melody instrument and basso continuo) Trio sonata: The most common type of Baroque instrumental chamber music. Written in three parts - two upper lines, normally in the same register and basso continuo. Requires 4 performers, two melodic for top lines, normally violins, a melody bass instrument (bass viol, violone, cello) that either reinforces the bass line of the continuo or as a concertante part, participates in the imitation with the upper voices. And a chord playing instrument such as the organ, harpsichord or theorbo to realize the harmonies of the continuo.

Question 106

Style brise

Answer 106

Broken style A free texture in which inner voices enter at will to fill in the gaps between the chords First used by lutenists and later appropriated by keyboardists

Question 107

Stile antico

Answer 107

Palestrina’s music has often been regarded as the model of classical Renaissance polyphony in it controlled treatment of dissonance through successive generations have varied considerably in their understanding of it. in the 17th century his music was the model for the stile antico (old style) - the style of unaccompanied largely diatonic polyphonic vocal music

Question 108

Stile concitato

Answer 108

“Excited style” Invented by Monteverdi Rapid reiteration of a single note either with spoken syllables in the voice or instrumentally as a string tremelo Used for warlike sentiments and actions

Question 109

Stile rappresentivo

Answer 109

Theater style inspired by the antique (Ancient Greek) model of sung dialogue based on speech

Question 110

Strophic variation

Answer 110

Style of strophic aria in which the composer uses the same harmonic and melodic plan for all the strophes

Question 111

Suite

Answer 111

A collection of dance movements for solo instrument The various movements are usually cast in closely related keys and follow a standard progression often beginning with an allemande or prelude and concluding with the spritely gigue. Bach orchestral suites, Froberger keyboard suites, bach violin sonatas and partitas, cello suites The following are some dances found in the Baroque Suite: Allemande: stately dance in duple meter (earlier pavane/galliard). Often paired with a lively triple-meter dance like a courante. The Allemande features a short upbeat and running notes Courante/ corrente: French and Italian names. Lively jumping dance in triple meter. Features quick moving running notes. Italian corrente is in 3/4 or 3/8 with a homophonic texture (melody predominates). French courante slower tempo and often switches between duple and triple meters of 6/4 (accents on Beats 1 and 4) and 3/4 (accents on 1,3,5). Sarabande: slow and stately dance cast in triple meter (often 6/4 or 3/2) primary vehicle for expressiveness in the Baroque instrumental suite Double: a movement following one of the main suite movements in which the harmonic progression and melody from the dance movement are elaborated through extensive use of passing tones, neighbor tones and arpeggios. The double, thus provides a sort of variation upon the movement immediately preceding it. Gigue: A fast-paced dance which is usually cast in triple and or compound meters (3/4, 6/8, 9/8, 12/8). Often closes the Baroque instrumental suite.

Question 112

Tablature

Answer 112

Primary lute notation Shows finger placement on frets rather than pitches Rhythm noted above the score Great for the unschooled and musically illiterate

Question 113

Teatro S. Cassiano

Answer 113

First theater to which paying public was admitted a decisive step for the history of opera since it usually depended on the wealthy patrons.

Question 114

Telemann, Georg Phillip

Answer 114

1681-1767 Perhaps the most underrated composer of the Baroque Era In his day more famous that Bach Enormous body of music: 40 operas, 12 cantatas, passions, overtures, suites, concerti and orchestral works numbering in the hundreds

Question 115

Toccata

Answer 115

From the italian “to touch” Instrumental piece grew out of its original function as a prelude The form directly opposed to the ricercare and fantasia both of which tend toward a slower tempo and solemn expression Essentially a fast paced technical piece.

Question 116

Tomkins, Thomas

Answer 116

1572-1656 English composer Anthems, services, madrigals

Question 117

Torelli, Giuseppi

Answer 117

1658-1709 Responsible for the crystallization of the mature Baroque concerto form Built upon the innovations of Corelli Provided for a second wave of Italian influence on the German concerto (evident in the works by Bach)

Question 118

Tragedie Lyrique

Answer 118

Opera genre in the last quart of the 17th century which represented the French turning away from it Quinault and Lully were the leading composers examples: Armide 1686 and Persee 1682 also called tragedie en Musique Tragicomedy toward French classical tragedy

Question 119

Vivaldi, Antonio

Answer 119

1678-1741 An italian composer and priest “Red priest” because of fiery red hair Greatest and most prolific composers of concerti some for solo or duo instruments others for complete orchestra Virtuoso violinist, violin teacher, musical director and choirmaster at the Pieta (musical orphanage, conservatory for girls in Venice) Style ranges from Baroque in early compositions to Galant in his late works Works exemplify standard Concerto techniques (fast-slow-fast movement structure and concertino vs ripieno with ritornello forms) but his style is individualistic Music features additive construction where short ideas are repeated and sequenced frequently and then strung together with similar constructions of different ideas

Question 120

Weelkes, Thomas

Answer 120

1576-1623 | English composer of anthems, services and madrigals