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Music topics during the baroque era
Characteristics of the Baroque music era
Musical forms in the baroque period
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Born in 1556, Giovanni Gabrieli was an Italian composer who worked for the St. Mark’s Cathedral in Venice. During his time there, he composed works for separate choirs for both vocal and instrumental performers. One of his most famous pieces comes from his Sacrae Symphoniae completed in 1597; the Sonata Pian e Forte. Gabrieli was both a composer and organist in Renaissance and Baroque transitional period which caused elements of both periods to be demonstrated within his compositions. With instrumental music becoming more popular, it was becoming quite common during this time to have a composer who also played an instrument, especially the piano or organ. Sonata Pian e Forte gained fame from being a work that demonstrated a few characteristics and ideas about sound that had yet to be seen or often used.
‘Sonata’ at this time referred to instrumental music while ‘pian’ means soft and ‘forte’ means loud. The title of the work indicates that it is an instrumental work that has soft and loud sections. Gabrieli's composition is special because it is the first to show dynamic markings in an ensemble setting. Some sources will say that it is the first piece to portray dynamics in general, but other sources provide evidence that dynamic markings appear in solo literature composed decades beforehand. “Deeper acquaintance with the music shows that they [the dynamics] also have an emotional function, for they occur so irregularly that the listener is never certain if he will be overwhelmed with sound, or when he must strain his ears for some more subdued phrase.” Gabrieli felt that dynamics can help portray or alter the audience’s perception of a pattern of music towards a particular mood.
In Sonata Pian e Forte, there are two se...
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...excel. “G. Gabrieli Sonata Pian' e Forte.” June 6, 2012. Accessed April 24, 2014.http://www.edexcel.com/migrationdocuments/GCE%20New%20GCE/Unit-6-14-G-Gabrieli.pdf.
Gabrieli, Giovanni. Sacrae Symphoniae: Sonata Pian e Forte. London: Brass Wind Publications, 1996. M886.G119 S13
Gabrieli, Giovanni. Sacrae Symphoniae: Sonata Pian e Forte. John Wallace, Simon Wright, and the Wallace Collection. Simon Wright. Nimbus Records NI5236, 2012. Streaming audio. http://naxosmusiclibrary.com.
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001. ML193.S38 2001 c.2
Britannica Footnote:
Encyclopaedia Britannica Online, s.v. “Giovanni Gabrieli,” accessed May 4, 2014, http://www.britannica.com/EBchecked/topic/223235/Giovanni-Gabrieli.
In the first part of this recital the vivaldi, contained a string Quartet. After the first intermission, I looked down at the podium and noticed that the precussions were added which included the timpani, bass drum, tylophone, and cymbals. In this recital Nancy Menk was the conductor, Judith Von Houser was the soprano which played a high note, and Mary Nessinger was the Mezzo-soprano which played a slight softer note. This part of the concert was divided into four pieces. First there was the Magnificant by M. Haydn (the orchestra accompaniment was edited from the composer's manuscript by Mark Nabholz). This piece consisted of strings without violas, two french horns, and an organ.
Giuseppe Torelli, was an Italian violinist, teacher and composer, is considered one of the early developers of the Baroque concerto and concerto grosso. Torelli also composed a significant number of works for the trumpet during the Baroque period (1600-1750). Around 1690, one can begin to see the first works for the trumpet. He was familiar with the virtuoso trumpeter, Giovanni Pellegrino Brandi. Brandi would sometimes play with the San Petronio orchestra, of which Torelli was violin player. This acquaintance could explain Torelli’s awareness of the trumpet’s timbre, dynamic range, and expressive capabilities.
A. The Baroque Wind Band. Lipscomb University, 2007 -. Web. The Web.
In the Baroque period, the performance venue usually was within churches and courts. These locations were not built to suit instrumental performances, and were more of just a venue to perform more than a designed venue like there is in the 21st century. Starting...
Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400-1600. New York: W.W. Norton & Company, Inc., 1998.
In his day, Johann Adolph Hasse was at the forefront of Italian opera. Although he composed a fair amount of sacred works, he is best known for his operatic output. He was widely popular throughout Italy and Germany, and was commissioned by courts and opera houses throughout Europe. His performances were attended by cultural figures at the time, as well as some of the biggest names in common-era music today. In his later life, styles changed and so Hasse’s acclaim diminished after his death. But generations later, he was re-established as a figurehead and icon of classic ancient Italian opera, a designation he possesses even today.
Volondat, Pierre-Alain, perf. Variations OP 20. By Clara Schumann. Rec. 15 May 2010. Saphir Productions, 2008. Florida College's Classical Music Library. Web. 17 Nov. 2013.
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
This book by John Rupert Martin is a good introductory book in the understanding of Baroque artists and their tremendous variety. Martin defines the Baroque characteristics, but only very broadly leaving a significant amount of room for the reader to make his own deductions. In general, Martin believes that the typical definitions of the Baroque are "too restrictive and hence likely to create more problems of classification and interpretation than it solves." Even the time of the Baroque is left open to the reader when Martin says the Baroque is roughly comprehended by the seventeenth century. It is important to note at the outset that this is only a convenient approximation; for epoch as a whole can certainly not be fitted into such a strait-jacket." This helps to define the Baroque much more generally as a gradual change which can much easily be noticed from the present than the past.
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
Anthony, James R., H. Wiley Hitchcock, Edward Higginbottom, Graham Sadler, Albert Cohen. “French Baroque Masters.” The New Groves Dictionary of Music and Musicians. W.W. Norton and Company, 1986. p. 1-63
Harr, James. Essays on Italian Poetry and Music in the Renassisance: 1350-1600. Berkeley: University of California Press, 1986.
Danson, Lawrence. The Harmonies of The Merchant of Venice. Great Britain: Yale University Press, 1978. Print.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
Nunzio, Alex Di. "Trevor Wishart." musicainformatica music computer resources. 1 6, 2012. http://www.musicainformatica.org/topics/trevor-wishart.php (accessed 1 3, 2014).