Transcript `Tis the Season(s):

‘Tis the Season(s):
Instrumental Music of the Baroque and
Stories without Words
Classical Music Concert
#1: Instrumental music
secondary, peripheral until
th
17 century
#2: Cutting music free of
dependence on words has
far-reaching implications
I. The Baroque Sonata
A. Sonata Defined
1. Early Baroque (1600-1650)
sonata or canzona=any instrumental composition
Early sonata tied to vocal models
2. Mid- and Late Baroque (ca. 1650 - )
chamber music for 1-2 soloists + b.c.
B. Types of Sonata
1. Functions
Sonata da camera (chamber sonata)
Stylized dances: Allemande, Courante, Sarabande, Gigue
usually in binary form: ||: a :||: b :||
Sonata da chiesa (church sonata)
Non dance: often Slow/Fast/Slow/Fast
2. Performing Forces
Solo Sonata
Trio Sonata
I. The Baroque Sonata
A. Sonata Defined
1. Early Baroque (1600-1650)
sonata or canzona=any instrumental composition
Early sonata tied to vocal models
2. Mid- and Late Baroque (ca. 1650 - )
chamber music for 1-2 soloists + b.c.
B. Types of Sonata
1. Functions
Sonata da camera (chamber sonata)
Stylized dances: Allemande, Courante, Sarabande, Gigue
usually in binary form: ||: a :||: b :||
Sonata da chiesa (church sonata)
Non dance: often Slow/Fast/Slow/Fast
2. Performing Forces
Solo Sonata
Trio Sonata
C. First Major Composer of Sonatas:
Arcangelo Corelli
1. Use of modern functional harmony:
2. Extensive use of sequences:
II. The Baroque Concerto
A. Origins (mid-Baroque)
concertato style: based on contrast of performing forces
B.Concerto also based on:
Contrast of Performing Forces
(soloist(s) = concertino vs. ripieno (or tutti)
Rip.
Concertino
Rip.
Basso continuo
Concertino
II. The Baroque Concerto
A. Origins
concertato style based on contrasts btw. performing forces
B. Performing Forces
Concertino (solo) vs. ripieno (or tutti)
C. Two Types of Baroque Concerto
Solo Concerto
Concerto grosso
D. The Contrast Principle
II. The Baroque Concerto
A. Origins
B. Performing Forces
C. Two Types of Baroque Concerto
D. The Contrast Principle
E. Composers
Antonio Vivaldi
The Four Seasons, “Spring,” 1st Movement
II. The Baroque Concerto
A. Origins
B. Performing Forces
C. Two Types of Baroque Concerto
D. The Contrast Principle
E. Composers
F. Form of the Baroque Concerto
1. Three Movements: Fast/Slow/Fast
2. Outer movements in Ritornello Form
Ritornello Form:
Ritornello=
Main Theme
Played by Ripieno
(full ensemble)
Abbreviated Returns
Of rit.
Episodes (Solo Episodes)
Ritornello returns
at end
Ritornello Form:
Ritornello=
Main Theme
Played by Ripieno
(full ensemble)
Rip.
Ritornello returns
at end
Concertino
Rip.
Concertino
Ritornello Form:
Double Contrast
1. Contrast of Performing Forces (Ripieno vs. Concertino)
2. Contrast of Themes: Ritornello Theme vs. Solo Melodies
III. Antonio Vivaldi’s Spring Concerto (1st Mvmt)
Ritornello = AABB
3
1=2
4=3 inverted
3=1 reversed
4=5
6=4 fragmented
III. Antonio Vivaldi’s Spring Concerto (1st Mvmt)
Ritornello = AABB
3
The Logic of “Wordless” Instrumental Music:
Delight in play with patterns,
Abstract relationships
Quasi-mathematical networks
Music “talks” about itself
First Movement
Guint' é la primavera
Il canto de gl'ucelli e festosetti
La salutan gl'Augei con lieto canto,
Ei fonti allo spirar de Zeffiretti con dolce
mormoria
Spring has come ;
the birds greet her with merry song,
and brooks run softly,
murmering to the breathing of the gentle
breezes.
Scorrono intanto venzon' coprendo l'aer
di nero an amanto
E Lampi, e tuoni ad annuntiarla eletti
Indi tacendo questi, gl'Angeletti,
Tornan' di nuoro alor
Then come (the sky covered with a black
mantle)
lightning and thunder to herald her
and when they cease, the tiny birds
take up again their enchanting song.
The Logic of Words: Words refer to
objects/ideas beyond themselves
Vivaldi’s “Four Seasons:
Weds
Abstract, Musical logic
to
The Referential Logic of Words