Baroque period (1 janv. 1600 – 1 janv. 1750)

Description:

Nuove Musiche –

preface and collection of monody over a bass line
- monody (emergence of opera)
- basso continuo
- beginning of modern tonal harmony/vertical emphasis
- composers begin to indicate who does what
- Baroque orchestras
- newly designed hautbois and tranverse flutes added to the “24 violins of the king” (strings) in France and continuo instruments, 30 total, then spread to Europe (sometimes horns)
- in 18th century - Baroque festival orchestra (BFO) – trumpets (clarini) and timpani
- Strings split on score – winds and upper strings above chorus, b.c. belw
- forte and piano
- 1750 – Death of Bach


- Notes Inegales
o A practice that grew out of the French royal court in the 16th century (?)
o Effectively, all dotted quarter notes were taken as double dots or were “overdotted”
o Groups of eighth notes were also played as dotted eighth-sixteenth
- Ornamentation
o Trills, mordents are common
o A Baroque trill begins on the beat and starts from the note above what is written
- Improvisation
o With the employment of Basso Continuo and the growing usage of Diminution from the early Baroque, performers were expected to improvise
o This was an important aspect of Baroque era performance, and the best performers were expected to be able to improvise at a high level
- Final note
o There is typically a short lift before the final note of a piece
- Instrumentation
o Especially in the early Baroque, gut stringed viols were still common
o Many instruments were still in their infancy, and as such when programming pieces such as Monteverdi’s late madrigals or even early Opera, one should take this into account as modern instruments will be much more present and resonant
o For example, it wasn’t until Lully that the Hautboy (oboe) and Transverse Flute became more adopted into common usage
- Latin dialect
o While Austrian Latin has it’s uses in historically-informed performances, it is often okay to use Italianate Latin as modern audiences will be more familiar with that dialect.
o If you were making a recording or performing in Austria, though, Austrian Latin can be fine.
- Dynamics
o Forte is regularly assumed, as dynamic markings weren’t really a thing just yet
o Mostly, dynamics are achieved vertically through texture and instrumentation
 “terraced dynamics”
o Consider any solo from a JS Bach Passion – the texture will clear out to help the soloist cut through
- Instrumentation
o Organs differ from various periods of the time – typically, the French would only have range for cf, only manuals on Italian, and full for german. The Arp Schnitger german organs later become standardized, though
o BC or BS usually contains a rhythmic and melodic instrument – depending on the ensemble around it and the function
 Secular pieces might use Theorbo or Harpsichord as chordal instrument.
 A Viol de Gamba would have been used as the melodic, or a bassoon, with the former being subbed out for a Cello as the range would be more closely aligned
 Organs are used for sacred works
- (Late baroque into Classical) Empfindpsamer Stil is what comes out of this with CPE bach (Sturm und Drang is born from this)
o Sharp contrasts of Forte-Piano
o Repetitive accompaniment like Alberti Bass

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