c.1600-1750

Portuguese for Pearl…Referring to the ornate architecture, art,

melodies.

This period saw many new ideas and innovations

Characteristics of Baroque MusicUnity of Mood: a piece usually expresses one mood or

affectionRhythm:

patterns are repeated through outthe beat is emphasized

Melody: repeated, ornamentedUse of Diatonic chords of I,IV,V,II,VI

Characteristics of Baroque Music continuedTerraced Dynamics:

alternation between loud and soft dynamicsorgan and harpsichord could not crescendo

Musical texturesMonophonicHomophonicPolyphonic

OrnamentsTrillTurnMordentAcciaccatura/AppoggiaturaGrace note

Basso ContinuoCommon type of accompanimentBass line with improvised chords

cello or bassoon on bassharpsichord or organ on harmony

Basso continuo

The Baroque Orchestrasmall (10 to 40 players)basso continuo and violin family stringsbrass, woodwinds and percussion used occasionally, but

vary from piece to piece.tone color was subordinate to the melody, rhythm or

harmony

Music in Baroque SocietyMusic written to order: demand for new music.Main source of diversion in the courts of the aristocracy.Music Director’s job

Pay and prestige were highcompositions were performedStill a servant of the patron

Music in Baroque SocietyChurch musicians

earned less than the court and lower statussupplemented with weddings and funerals

Town musiciansOpera houses

Important composersJohann Sebastian Bach (1685-1750)George Frederick Handel (1685-1759)Henry Purcell (c.1659-1695)Antonio Vivaldi (1678-1741)

George Frideric Handel b. Halle, Germany (one month before Bach) in 1685Devoted his life to music from age 18First Opera –Rodrigo- was performed in 1710Appointed Kapellmeister to Elector Georg Ludwig of

Hanover (Later becoming George I of England)Promoted with George I to Royal Composer

Handel in LondonFavorite of Queen AnneWrote ‘Water Music’ in 1717English Oratorios after failure of Italian OperaBlind - from cataractsDied in 1759 and Buried in Westminster Abbey

Handel - MusicInstrumental

suitesorgan concerticoncerti grossi

Vocal Music39 Italian operasOratorios (mostly in English)

The Oratorio a large-scale composition for chorus,

vocal soloists, and orchestrauses choruses, arias, duets, recitatives, and orchestral

interludeschorus acts as commentary

last approximately 2 hours

The OratorioSet to a narrative textNo acting or sceneryBased on the BibleOriginally performed in prayer halls called oratorios

Handel - Oratoriosgenerally Old Testamentfor the paying public, not churchhave plots, but no scenery or actingchorus is the focus

Listening: Messiah lasts 2 1/2 hourscomposed in 24 daysPremiered in Dublin, Ireland in 1742 as a benefit for

people in debtor's prisonlater tradition as London orphanage benefit concertOnly one to use New Testament verses

Messiah - Three ActsPart 1 Prophesies telling of the coming of ChristHis Birth

EasterPart 2The Passion of ChristSet mainly to words from the Old Testament

PentecostPart 3The Resurrection

Pentecost

Part 3The Resurrection

Structure of an OratorioRecitativeAriaChorus

And the Glory of the LordIdea 1

And the Glory of the LordIdea 2

And the glory of the LordIdea 3

And the glory of the LordIdea 4

The whole movement is in A majorModulates to the dominant (Emaj) and the

Dominant – Dominant (Bmaj)No minor keys to kepp one ‘affection’

IntroductionLively ¾ - Feels like one-in-a-barOrchestral introductionHemiola at the end of the introduction

Descending sequences (bars 5-6 and 7-8)

Instruments double voice parts throughout

Analysis: Bar 1-11Orchestral introductionStates ideas 1 and 2Example of descending sequence (bar 5-6 and

7-8)Hemiola rhythm in bar 9-10. Very common as

a cadence approach in Baroque musicEnds with a perfect cadence, (V-I)Orchestra always doubles the voicesMusic is driven by the regular on-beat

crotchet rhythms (look at the bass part)

Analysis: Bar 11-14Alto entry with motif 1mf = Mezzo Forte (Quite loud)Syllabic setting of the textPerfect cadence in bar 13-14

Analysis: Bar 14-17f chordal respone by

soprano, tenor and bass

Homophonic textureThe bass often has the

melody if the texture is homophonic

Perfect cadence in bar 16-17 (Vb-I)

Analysis: Bars 17-22Imitative entries of motif 2, by tenor, bass,

then soprano.Built up on the 2 one-bar descending

sequence on ‘revealed’Modulating from A major to E major, using

the chords Vb-I

Analysis: Bar 22-33In E major, the dominant keyFirst time that motif 1 and 2 are combinedTenor and Soprano have motif 1 (an octave

apart)Alto and bass have motif 2The result = 2 part counterpoint (tune vs tune)Contrast of texture is created so we have variety,

keeping the listener interested. It is a major feature of the whole movement!Bass and tenor = low (bars 22-25)Soprano and alto = high (bars 25-28)Alto and tenor = middle (bars 28-31)

Analysis: Bar 33-38Strong, 4-part homophonic texture of motif 1

in E majorMelody is in the bass with ‘shall be revealed’

tagged onto the end

Analysis: Bar 38-43Orchestral link using

motif 2Use of sequences (bar

38-39)Use of hemiola rhythms

(bar 41-42)Use of a suspension (bar

42)These features are all

found in the introduction

Analysis: Bars 43-50Alto makes the first statement of motif 3.Tenor follows in bar47-50.Contrast in texture – Thin with one line at a

time contrasting with the 4-part homophonic sections.

Modulate back to A major (tonic/I)Note strong crotchet bass line (E-C#-A) A major is confirmed by a perfect cadence in

bars 46-47

Analysis: Bars 51-57Tenor and bass introduce motif 4. Adds

weight and gravitas to the statement by being low and dotted minims.

Repeated notes in the motif act as a pedal (in this case a tonic pedal)

This 2-part texture becomes a 4-part texture in bars 53-57 with sopranos and altos singing motif 3 (in sixths)

Perfect cadence ends the section (V7c-I)Suspension in bar 56 (7-6 suspension

between alto and bass)

Analysis: Bars 58-73Sopranos sing motif 4 on a dominant pedal

(an inverted pedal at the top of the texture)

Alto, tenor, bass sing motif 3 and ends with a plagal cadence. (IV-I)

Imitative entries in these parts as we modulate to E major.

Bar 68-73 = Tenor/Bass on motif 4 and soprano/alto with idea 3 one bar later. Ends with a perfect cadence in B major (Dominant-Dominant)

Bars 74-83Short orchestral link based on motif 1Leads to 4-part homophonic rendition of

motif 1 in B majorNote original melody is in the bass.This then leads to motif 3, arranged in a new

texture.All parts return for a homophonic ‘Together’

on chord I-V (imperfect cadence).Momentum is carried on immediately by the

sopranos.

Bar 83-102Dovetails with last section with sopranos

singing motif 4 on an F# - NB every time we hear this motif it is higher in pitch. (A-E-F#).

Over the next dozen bars, all 4 motifs come together

Bar 84 = Altos sing motifs 1 and 2Decending pitch as alto-tenor-bass sing short

melodiesBar 89-92 – Motif 3 is shortened by one barBreakdown of texture is short lived as Handel

brings in all voices at 93-94.

Bar 83-102 continued...Bars 93-102: Handel uses motif 1, 2 and 4 in

different parts.Music modulates back to E major in this

section.This section ends with a perfect cadence in E

major (V-I)Modulate straight away back to A major

(Tonic key)

Bars 102-124Altos sing motif 3, fragmented to one bar

echoes in the tenor and bass.This reduces the texture to a minimum beofre

the final section.Parts added quickly in bars 105/6,

reaffirming words ‘see it together’.Climax of movement = Sopranos singing

motif 1 ending on a top A This is answered by the other 3 parts, with

the tune in the bass.

Bars 102-124Imitative entries followBar 118 = Alto, Bar 119 = soprano and tenor

= motif 3This is underpinned by basses singing motif 4

on a E (Dominant pedal).Section ends on an imperfect cadence (I-V) at

bars 123-124.

Bars 124-134Sopranos begin the final section by taking

over idea 4 from the basses.All other parts answer with motif 4Firmly stated on the tonic, A.Bar 129-134 is heard at 51-55. This time

soprano/altos and tenor/bass have swapped parts = Invertible Counterpoint.

3 parts start with motif 4 before coming to a dramatic halt at bar 133 (Handel does this quite often at the end of a chorus e.g Hallelujah Chorus)

Bars 134-138A dramatic 3 beat rest in all voices and

instrumentsTempo changes to Adagio for the final plagal

cadence in A major.In 4-part homophony adding emphasis to the

final words ‘Hath Spoken it’.

Summary of choral styles used

Choral Style Example

Monophonic writing (Single line) Bars 11-13

Homophonic writing (4-part choir)

Bars 33-38

Simple imitation Bars 17 onwards

2 part counterpoint (Tune v Tune)

Bars 110-113

Doubling of parts Bars 51 onwards ‘for the mouth’

Key words (The bare minimum – You can, and must, add to this!)CadenceHarmonic rhythmHemiolaHomophonicMonophonicPolyphonicCounterpointImitativeModulation

PedalPerfect cadencePlagal cadenceImperfect cadencePitchTonicChord VbChord V7MellismaSyllabic

Section A Questions1. How is the joyful mood/affection achieved in this piece (1)2. Name 3 textures used in this piece (3)3. Name the 4 voice parts used in this piece (4)4. What instruments accompany the singers (4)5. How many melodies (motifs) are used in the chorus? (1)6. Identify 2 ways in which the last 3 bars are dramatic (2)7. Give bar numbers where you can hear the following

1. One voice part2. 2 voice part3. 3 voice part4. All 4 voices together (4)

8. In general, how are the words set to the music? (1)9. How is the word ‘revealed’ treated throughout the piece?

(1)

Section B Questiona) In which year did Handel write the Messiah? (1)

b) Which type of vocal work is the Chorus taken from? (1)

c) Describe this set work using the following headings

I. Form/Type of CompositionII. MelodyIII. TextureIV. DynamicsV. Rhythm (10 Marks)