Walking Through the Baroque Music Era - Essay Example

Walking Through the Baroque Music Era What is Baroque Baroque Music.Org said the English word baroque was derived from the Italian word barocco, meaning bizarre. It said the use of this term originated in the 1860s, describing "the highly decorated style of 17th and 18th century religious and public buildings in Italy, Germany and Austria." It further added that it was typified by the "very baroque angelic organist" adorning the Gottfried Silbermann organ completed in 1714 for the Cathedral in Freiberg, Saxony. In early to mid-1900s, the term Baroque was associated to the music of the 17th and early 18th century but has since come to refer to specific type or genre of music which probably originated in the 1600 and matured between 1700 and 1750. A Short History According to Thornburgh, the Baroque period of the European musical history falls between the late Renaissance and early Classical periods, making it about a century and a half between the years 1600 and 1750. During that time, she said Europe had taken in humanism and rationalism from the Greco-Roman civilization. Driven by its thirst for early technology, religious reformation had slowly begun. It was also during the era of the Baroque music that the European civilization prepared itself for the twentieth century. The era of the Baroque music was an age of spectacular progress of knowledge. (Thornburgh) Included in the milestones during those times are the discoveries of Galileo, Newton, Descartes, Newton, Leibnitz, Spinoza and Locke. A modern Europe also surfaced after so many intellectual, artistic, and social contributions came in. Since the era was of absolute monarchy, the life of the nation would center around the exploits of the current leader. And such influence would be seen in all the structures in the country. Of course, spectacular musical and theatrical performances would be staged for the benefit of the monarchs and their foreign visitors. In other words, artists during that time served as instruments for the monarchs to stay or rise in rank. Moreover, JM Howard highlighted three major points vital in the formation of the Baroque as a historical musical era. First is reformation and counter-reformation, second is the existence of the wealthy families of Europe, and third is the desire of the Europe courts to maintain an image. The Reformation and the Counter-Reformation: Since the 17th century became more like a competition between recruiting parties of the Catholic and Protestant parties, many artists and musicians were able to perform on several concerts that were put up to convince people what the best church is. The Wealthy Families of Europe: Since during the 17th century, monarchs and aristocrats ruled, there was a need to somehow show the peasants that the ruling class had soft side, which would be shown through their taste in music. Elements of the Baroque Music Era According to Thornburgh, music from the Baroque period is a mixture of many styles: there is Italian, French, English, and German Baroque music; early, middle, and late Baroque music; and even secular and sacred Baroque music. And of course, one must not forget to mention the different personal styles of the many composers and musicians. Having said that, it would definitely be hard to clearly define what Baroque music is like because of its numerous elements. However, Thornburgh said there is a way to describe Baroque music in a more particular manner, and that is through its musical instruments, stylistic elements, and musical esthetic. Baroque Musical Instruments Voice. Being the oldest musical instrument, the voice would probably thought of being the most natural tool for music making. However, a true Baroque singer is very well-trained and is in many ways different from today's opera singers. Thornburgh said the difference is that Baroque singers accentuate the "difference in tone color between lower and higher registers" as compared to having "uniformity of tone color for which today's voice strives across the vocal range." Moreover, qualities like agility, purity, and clarity are vital in identifying a true Baroque voice. Strings. According to Thornburg, the principle ensemble instruments during the said musical era would most probably be the unfretted, bowed, string instruments of the violin family, the making of which has reached its peak during the same era. For the most part, the best violins in the world recognizably come from Europe, specifically in Italy. Moreover, the "modern members" of the violin line like the violin, viola, cello, and double bass were all used by the Baroque composers who were sensitive to the type of skill and instrument needed in producing music appropriate for their genre. The author also said the musical era inherited from the Renaissance a handful of fretted, bowed instruments, the most important of which was the viola da gamba, an instrument similar to the cello in terms of range. Although the use and existence of such instruments diminished, it is somehow being revived by those truly interested in playing Baroque music. Woodwinds Baroque woodwind instruments were all made of wood, even the flute. Other instruments in the same league are the recorder, oboe, and bassoon. These instruments had only a few or no keys at all and had a softer sound, very much unlike those instruments used in the nineteenth century and beyond. Brass The trumpet and the French horn were the main brass instruments of the Baroque era, although they might have been known as "natural" trumpets and horns back then because they actually did not have any valves, which were only invented during the nineteenth century to increase the number of pitches that a player can produce. Thornburgh said that because of the technical limitations during that period, such instruments were more often that not just for "orchestral color." Keyboard/Plucked According to "Baroque Music - Part One," the two principal keyboard instruments during the era were the harpsichord, a plucked keyboard instrument, and the organ, which are both associated with "secular and sacred music." More specifically, the construction and composition of the harpsichord peaked during the Baroque era. On top of it all, since it was a great solo and accompanying instrument, it became known and was highly regarded throughout Europe. Likewise, the lute which enjoyed about four centuries of favoritism, was also used as a solo and accompanying instrument. And even if the primitive piano was invented during the same musical period, it was not used that much like the other instruments, that is before the eighteenth century. Baroque Orchestra It was in the eighteenth century when the orchestra was recognized by musicians and composers. Compared to the modern orchestra, it was quite smaller and the musical scores were adjusted to compliment the number of musicians playing, most of whom played string instruments. Thornburgh said woodwinds usually played the same notes as the strings but woodwind and brass instruments were sometimes allotted short passages for "color contrast." Stylistic Elements Again according to "Baroque Music - Part One," continuo or thorough bass and ornamentation are the two "most universal stylistic elements of Baroque music," both of which involved the "difference between what the composer wrote down and what the performer played." These two were supposedly derived from Renaissance and Classical music. To be more specific, the continuo consisted of a harpsichord and a cello, which gave the "rhythmic and harmonic foundation of Baroque ensemble." The author said that this was usually written as bass line with numbers under the notes to direct harmony, like a modern jazz chart. Meanwhile, ornamentation involved the "embellishment" of the musical lines. Trills, mordants and grace notes were the devices used in such a process. More often than not, it was up to the performer whether the ornaments were written out or even indicated. Unlike the purpose it serves today, the vibrato back then was used as an "ornamental enhancement" of a given note or musical moment. Musical Aesthetic "Baroque Music - Part One" explained that music has always supplied the "emotional enhancement" to the open verse. It further explained that during the Renaissance, music theory treated music as an "extension of a text." They categorized music as an element of the rhetoric, being a swaying, appealing, and moving phase of discourse. However, even with their belief of music being rhetoric, they also supplied a "rationalist belief" and a "definable nature of the emotions." It was in 1649 when it was explained how human emotions translated into a universal language. Rene Descartes, a French mathematician and philosopher, clearly explained that the Baroque period's understanding of feelings such as love, hate, joy, sadness, anger, or fear had an "objective nature," effectively being more likely to be translated into the language of music. Composers back then used such as the "building blocks" of their musical pieces or creations. However, these composers and musicians were not so much interested in expressing or translating their own emotions. They would actually seek to describe feelings different from what they actually felt, effectively detaching themselves and somehow coming off with "cold" music. Although this may be true, composers and musicians still seem to be able to stir up emotional responses from its audience or listeners, properly demonstrating how Baroque music attains its goal of accurately depicting emotions which were simply "objectively described." Moreover, Thornburgh said a distinctive feature of that era's music is that each piece or part of a piece dedicates itself to only of the feelings being "objectively described," making it different from Classical thematic development. In other words, a Baroque musician aims for only one response from each piece of musical piece, not a smorgasbord of conflicting emotions. Instrumental Music According to "Baroque Music - Part One," most of instrumental music during the era were played in chamber settings. This was due to the backing of the aristocrats and the scarcity of spaces where public performances can be held back then. Also, the instruments made during the period were built to sound "full and rich," but only in small sized halls. In terms of musical expressions, dances, variations, counterpoint, and alternation between solo and tutti passages were the dominant choices. More importantly, it was through the Baroque era that instrumental music was fully developed, instrumental music meaning music without text which had no other purpose other than be listened to. Even Baroque dance forms had "identifiable rhythmic individuality," some of which were even products of the performer's or musician's extemporaneous creations. Solo Instrumental Music Thornburgh said the dance suite, prelude, and the fugue were the forms most often used in solo instrumental music, wherein Johann Sebastian Bach (1685-1750) was the most influential factor. Composers during that period transformed the Renaissance's trite polyphony into the fugue, in which Bach was the master. The 1973 Bach creation "Invention No. 1 in C Major" showcased his "contrapuntal compositions." According to Thornburgh, Bach was always able to mix different national styles into current musical forms. While composing solo works for instruments like the organ, harpsichord, violin, cello, and the flute, he was able to keep his musical creations "alive and accessible" because of his choice of instruments, "harmonic inventiveness," and clarity with which he divulged contrapuntal lines. According to "Baroque Music - Part One," French composers were exceptionally good in music written for solo harpsichord, a tradition that began with solo lute music. This is something which imitated the sounds of nature or even of characters and human portraits, some of which have to be always "serious and grand." Moreover, the composer who understood such things best was Domenico Scarlatti (1685-1757), a Neopolitan who spent the most important phases of his career serving the Queen of Spain. Thornburgh said he is recognized for his harpsichord creations just as Chopin is regarded for his piano pieces. According to the author, Scarlatti's harpsichord sonatas have an "enormous emotional range," effectively inducing "lyric mellowness, languid hours, somber solemnity, dazzling pyrotechnics, and cheerful sprightliness." Although he is regarded to be the creator of many technically difficult sonatas, he should be recognized for his effort in runs, cascades and harmonic richness. Solo and Trio Sonatas Some of the most popular forms of composition during the Baroque era were the solo sonata and the trio sonata. Back then, soloists were able to show off their skill by performing sonatas where one or two solo instruments are supported by a continuo for rhythmic and harmonic definition. Concerto Grosso and the Solo Concerto Composed primarily for string instruments with alternating solo and tutti sections, the concerto grosso became the most common instrumental form for the orchestra during that time. Such was vital in giving life to the music. Commonly opening and closing with the orchestra in full power, the solo passage would allow soloists time to show their technical musical skills, matched by their new musical instruments, the violins. According to the "Baroque Music - Part One," the best distinction that can be surmised between the solo concerto and concerto grosso forms is that the gap between the solo and orchestral parts are longer and more flamboyant. In addition, the solo concerto had emerged as the "central musical form of this (Baroque) genre" by the middle of the eighteenth century. Meanwhile, the Baroque concerto grosso brought about Classical symphony that alternates tempos and has its ensemble texture "broken" by small solo passages. Moreover, Thornburgh said each concerto uses different combinations of instruments, some of which even sometimes appear only once. Sometimes the contrast between soloists and the orchestra become obvious in the vibrant tone colors of the different instruments. Sacred Vocal Music The author said that most of the sacred or religious music during that period were written only to be performed at any of the Catholic, Lutheran, or Anglican churches. Pieces played during masses were the utmost form of sacred form during the Baroque music era. The sacred cantata and sacred oratorio were actually particular to that time in history. To be exact, each musical piece was intended for a very specific part of the mass or service, depending on whether it was appropriate. Most of these pieces were composed by the Kapellmeister for that particular day. As a tradition, the choir would participate in much of the "sacred music-making." This is because supposedly, when the choir sings, they are speaking for the whole church, or even the whole of Christianity. A side of Baroque sacred music that can also be discussed is its inclination to be influenced by its secular traditions. The church may actually put religious characters into arias and recitatives in hopes of preaching more lessons to its people. Baroque Composers To briefly describe them, Baroque musicians served patrons, may it be nobles, the state or the church. And it was not only until the eighteenth century that they considered becoming "independent professionals," that is living from teaching, composing, and performing music. Thornburgh said the Baroque composer saw himself or herself as a "craftsman" instead of an artist. This is because most of their pieces were meant to supply for a specific demand during that time. However, despite their position regarding the production of musical pieces, it would still be safe to say that it was a good thing all along, being able to leave future citizens and musical lovers alike a bank of musical inheritance. JM Howard listed several artists who were regarded during the Baroque period, to mention a few: Antonio Vivaldi (1678 - 1741) He was famous during his time for being an incredible violin virtuoso, although he was also a composer. Most of his compositions were actually extremely difficult, even for him to play. He often traveled Italy and most of Europe in order to perform for large audiences. Johann Sebastian Bach (1685 - 1750) According to Howard, his genius lies in music that can "stir the heart and soul of the untrained ear" and at the same time, "humble and instruct the most gifted artists." He supervised and instructed the choirboys who lived in church with him. In between church meetings, organ tunings, and teaching, Bach would be able to write a page of music. Some of his more popular pieces include: Air on a G string, Jesu, Joy of man's desiring and his Brandenberg Concertos. George Frideric Handel (1685 - 1759) Since Italy already had Vivaldi and Germany has Bach, Handel decided to start his career in England. And since opera was a rising phenomenon in London back then, he competed on a nightly basis with other opera house managers to bring the biggest and best singers to his performances, effectively getting patrons. Handel eventually resorted to writing the opera, with no set, costumes, and budget. Even so, England revered him up to this day, as their "greatest musical treasure," something the English wouldn't see again until the birth of the Beatles. According to Howard, these are the other musicians who dedicated their lives to Baroque music: Claudio Monteverdi (1567 - 1643) Howard said Monteverdi wrote the "most palatable of the first generation of operas" called L'Orfeo, effectively making him kind of the father of both Baroque music and Opera. Arcangelo Corelli (1653 - 1713) He was violin player whose greatest work, Opus 6 Concerti Grossi, was completed on his deathbed. His styles and techniques were mimicked and emulated throughout all of Italy. Johann Pachelbel (1653 - 1706) He might be considered a "one-hit-wonder" with his Cannon in D, but it cannot be denied that he contributed a great deal to Baroque music. Tomasso Giovanni Albinoni (1671 - 1751) Considering himself as an amateur, Albinoni was a prolific Italian composer who wrote nearly 50 operas, and a lot of sonatas, concertos and solos pieces. His best works include Adagio in G minor and Concertos for Oboe Opus 7 and 8. Works Cited: "Baroque Music Defined." Baroque Music.Org. 9 October 2008 < http://www.baroquemusic.org/bardefn.html>. Howard, JM. "If it ain't Baroque." 1999. Stuff-Everyone-Should-Know Series. 9 October 2008 < http://www.sesk.org/Aesthetics/Music/Baroque.htm>. Thornburgh, Elaine. "Baroque Music - Part One." Music in Our World Textbook." 1984. McGraw Hill. 9 October 2008 . Thornburgh, Elaine. "Baroque Music - Part Two." Music in Our World Textbook." 1984. McGraw Hill. 9 October 2008 . Read More