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BAROQUE
SONATA
Baroque Sonata
By the time of Arcangelo Corelli, two polyphonic types of sonata were
established: the sonata da chiesa (church sonata) and the sonata da
camera ("ordinary" sonata, literally chamber sonata).
The sonata da chiesa, generally for one or more violins and bass,
consisted normally of a slow introduction, a loosely fugued allegro, a
cantabile slow movement, and a lively finale in some binary form
suggesting affinity with the dance-tunes of the suite. This scheme,
however, was not very clearly defined, until the works of Johann
Sebastian Bach and George Frideric Handel, when it became the
essential sonata and persisted as a tradition of Italian violin music – even
into the early 19th century, in the works of Boccherini.
The sonata da camera consisted almost entirely of
idealized dance-tunes, but by the time of Bach and
Handel such a composition drew apart from the sonata,
and came to be called a suite, a partita, an ordre, or,
when it had a prelude in the form of a French operaoverture, an overture. On the other hand, the features of
sonata da chiesa and sonata da camera then tended to
be freely intermixed. Bach is also cited as being among
the first composers to have the keyboard and solo
instrument share a melodic line, whereas previously most
sonatas for keyboard and instrument had kept the
melody exclusively in the solo instrument.
This are the examples of baroque
sonata . .
http://www.youtube.com/watch?v=GfOp-n5VvXg
http://www.youtube.com/watch?v=8UPRQRCJx14
The early sonata had about six movements, which were often
arranged as thus:
1) Adagio or Grave: a slow, short introduction, often with
dotted rhythms called notés
inegále (unequal notes) in the French overture style, which
was not always indicated
with dotted notation
2) Allegro: usually fast and fugal (imitative) in style
3) Adagio: slow, short and aria-like (free-form)
4) Dance: a fast, dance-like movement in triple meter
5) Adagio: another slow, short, contrasting section
6) Allegro: fast and fugal or dance-like, usually a gigue, but
sometimes an allemande
or gavotte
click below for some sample....
http://en.wikipedia.org/wiki/File:Beethoven__Piano_Sonata_No._28_in_A_Major,_Op._101__I._Etwas_lebhaft,_und_mit_der_innigsten_Empfindung.ogg
what is a dance suite?
Because dances are often relatively short in
length, composers before the 1700s used to
group dance pieces together in sets.
Composers like Bach composed sets of
dances in a much more formal way and
called these sets of dances dance suites.
For a dance suite to be called a suite, it had to
contain the four most popular dances:
The allemande -- a slow dance, originally from
Germany.
The courante, which was a courtly dance from
France.
The sarabande, which was a slow, lilting dance
from Spain.
The gigue (or jig) which was a fast dance from
England.

click below for sample.............
http://www.youtube.com/watch?v=i1nwvPN3INg
Concerto grosso
The concerto grosso (Italian for big concert(o), plural concerti
grossi) is a form of baroque music in which the musical material is
passed between a small group of soloists (the concertino) and full
orchestra (the ripieno).
Alessandro Stradella seems to have written the first music in
which two groups of different sizes are combined in the
characteristic way. The first major composer to use the term
concerto grosso was Arcangelo Corelli. After Corelli's death, a
collection of twelve of his concerti grossi was published; not long
after, composers such as Francesco Geminiani and Giuseppe
Torelli wrote concertos in the style of Corelli. He also had a strong
influence on Antonio Vivaldi.
Two distinct forms of the concerto grosso exist:
Concerto da chiesa & concerto da camera
The concerto da chiesa alternated slow and fast
movements; the concerto da camera had the
character of a suite, being introduced by a prelude
and incorporating popular dance forms. These
distinctions blurred over time.
click this to hear some sample . .
http://www.youtube.com/watch?v=Oqf9PU
b8D3g
http://www.youtube.com/results?search_qu
ery=concerto+da+chiesa&search_type=
thank you for listening. . . .enjoy your day . .